BourgeoisGentilV1, Istex, Corpus, bibRecord, 001123

Flaubert et le théâtre

Identifieur interne : 001123 ( Istex/Corpus ); précédent : 001122; suivant : 001124

Flaubert et le théâtre

Auteurs : P. M. Wetherill

Source :

French Studies [ 0016-1128 ] ; 2005-04.

RBID : ISTEX:517C049C30274ECA587159E14DE8CB40B59026C0

English descriptors

Teeft :
- Actual performances, Alan raitt, Albany flaubert, Animated cartoon, Ballet fantastique, Ballets sont, Banville critique artistique, Better reviews, Bibliographical information, Classical drama, Collaborative skill, Comic conventions, Comprehensive bibliography, Comprehensive study, Copious reviews, Different versions, Dirty work, Early childhood, Effervescent pastiches, France romanticism, Gautier, Gestural language, Haphazard presentation, Illuminating introduction, Important aspect, Important critic, Important link, Important links, Last years, Literary activity, Lucid account, Madame bovary, Major revolution, Many ways, Massive reading, Metaphysical overtones, Minor errors, Minor exception, Minor quibbles, Much time, Musicale choisie, Narration chez flaubert, Narrative processes, Negative attitude, Nestor roqueplan, Offer light, Operatic adaptation, Other ways, Parisian tourist, Pierrot posthume, Plastic poetry, Poete pris, Progressive disappearance, Raitt, Raitt analyses, Raitt stresses, Rature moderne, Recent contribution, Romantic drama, Romantic theatricals, Saint antoine, Seconde edition revue, Silent actors, Strange preoccupation, Strong case, Such involvement points, Susan blood, Tentative theory, Textual variants, Theatre reviews, Theatrical elements, Tiny masterpieces, Typographical errors, Unequal rhythm, Vais commencer, Varietes theatre, Veux devenir, Wetherill manchester, Whilst raitt, Wide spectrum.

Url:

https://api.istex.fr/ark:/67375/HXZ-FWTQLKW5-R/fulltext.pdf

DOI: 10.1093/fs/kni109

Links to Exploration step

ISTEX:517C049C30274ECA587159E14DE8CB40B59026C0

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      <title></title>

      <p>By A<sc>lan</sc>
 R<sc>aitt</sc>
. (Le Romantisme et après en France — Romanticism and after in France, 1). Seconde édition revue et corrigée. Bern, Peter Lang, 1999. 199 pp. Pb £20.00.</p>

      <p>In this dense, throroughly documented and comprehensive study, Raitt analyses Flaubert's seemingly strange preoccupation with the theatre, private and public, from early childhood to the last years, with the massive reading in his youth (much time spent on Voltaire, perhaps to please his father, but certainly learning, in his résumés, how to avoid dialogue) and the unequal rhythm of his visits to actual performances. Beyond the key shift in the early 1850s from romantic theatricals to realist fiction, Raitt stresses the ambiguity (even in the culture of the period) of a writer who brought about a major revolution in the novel, and yet who was repeatedly (and with the minor exception of <italic>Le Candidat</italic>
, disastrously) tempted by a world and a mode he didn't really understand (any more than he really understood poetry), without having the <italic>nous</italic>
 (like Zola) to get a hack in to do the dirty work for him. As Raitt shows, Flaubert's notion of literary activity was clearly much less focused than is usually felt, even if his attitude to the stage was often decidedly cavalier. His view of the world constantly slides from realism to staged, ‘cinematic’ or ‘read’ theatre — and this multiplicity is even more marked if one includes Flaubert's involvement in the staging of Bouilhet's work. Such involvement points to an important aspect of Flaubert's psychology and to an important link with the novels for, in other ways, they too were collaborative (Bouilhet's skill as a novelist is perhaps hidden in <italic>Madame Bovary</italic>
 and <italic>L'Éducation sentimentale</italic>
); and even in so hostile and public a milieu as the theatre, collaboration was perhaps another way of hiding his personality in that of others and achieving some kind of impassibility.</p>

      <p>I have one or two minor quibbles. It is excessive to suggest that <italic>Bouvard et Pécuchet</italic>
 is a novel without a plot (p. 173). Also, in an otherwise lucid account, Raitt seems at times to confuse theatre and opera (p. 28). This makes it more difficult to understand that Flaubert's involvement in the operatic adaptation of <italic>Salammbô</italic>
 was different from more specifically theatrical ventures, and, significantly so from his negative attitude to the adaptation of his novels. Also, whilst Raitt does look at the progressive disappearance of theatrical elements from the different versions of <italic>La Tentation</italic>
 (p. 147), it would have been useful to look more closely at ‘theatricality’ in the novels, as well as considering narrative processes (including ‘scenes’ (following Genette)), in the theatre, for the devices thus involved set up important links and contrasts between novel and stage.</p>

      <p>Two minor errors of chronology are perhaps worth mentioning: Flaubert's law studies began, I believe, in 1841 and not after 1843 (p. 32); Le Poittevin died in 1848 and not 1844 (p. 20 — the date is given correctly on p. 54). The comprehensive bibliography might now be supplemented by Marshall Old's major recent contribution: <italic>Au pays des perroquets: féerie théâtrale et narration chez Flaubert</italic>
 (Rodopi, 2001), as well as by some mention of G. Séginger's work on <italic>La Tentation de Saint Antoine.</italic>
 Anyone who works on <italic>La Tentation</italic>
 deserves a mention.</p>

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Flaubert et le théâtre

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