Du corps de l'acteur a la parole résurrectionnelle

The theatrical work of Valere Novarina is a language that turns you upside down. Plural and jubilant, his art of writing operates as a real craft of the unheard of "the organ of language [that] is the hand." An equilibrium favoring the efficiency of a poetics of the indeterminate, which is...

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Main Author: Alexandra Gaudechaux
Format: Article
Language:English
Published: Association Portugaise d'Etudes Françaises 2018-05-01
Series:Carnets
Subjects:
Online Access:https://journals.openedition.org/carnets/2619
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author Alexandra Gaudechaux
author_facet Alexandra Gaudechaux
author_sort Alexandra Gaudechaux
collection DOAJ
description The theatrical work of Valere Novarina is a language that turns you upside down. Plural and jubilant, his art of writing operates as a real craft of the unheard of "the organ of language [that] is the hand." An equilibrium favoring the efficiency of a poetics of the indeterminate, which is related to the phenomenal fruitfulness of the Word as initiated by the theologians of the Middle Ages. A word that can also be related to valery - the language so "difficult" that the poet himself ignores learning - and Hebrew writing, which have in common to offer his reader "empty" to fill, [gaps] to fill for the sound as for the sense ", the whole working to the transfiguration of" deficiencies "of the language in" riches of the poem ". The Novarin language springs up and revives like a fluid acting the actors' bodies in infinite reconfigurations of the human figure. We propose here to observe some passages.
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spelling doaj-art-1ecec9a8fc3b4368931dae42af2297a52024-12-09T13:42:37ZengAssociation Portugaise d'Etudes FrançaisesCarnets1646-76982018-05-011310.4000/carnets.2619Du corps de l'acteur a la parole résurrectionnelleAlexandra GaudechauxThe theatrical work of Valere Novarina is a language that turns you upside down. Plural and jubilant, his art of writing operates as a real craft of the unheard of "the organ of language [that] is the hand." An equilibrium favoring the efficiency of a poetics of the indeterminate, which is related to the phenomenal fruitfulness of the Word as initiated by the theologians of the Middle Ages. A word that can also be related to valery - the language so "difficult" that the poet himself ignores learning - and Hebrew writing, which have in common to offer his reader "empty" to fill, [gaps] to fill for the sound as for the sense ", the whole working to the transfiguration of" deficiencies "of the language in" riches of the poem ". The Novarin language springs up and revives like a fluid acting the actors' bodies in infinite reconfigurations of the human figure. We propose here to observe some passages.https://journals.openedition.org/carnets/2619Novarina (Valère)dramatic writingactor's bodytheatrical receptionmedieval theology
spellingShingle Alexandra Gaudechaux
Du corps de l'acteur a la parole résurrectionnelle
Carnets
Novarina (Valère)
dramatic writing
actor's body
theatrical reception
medieval theology
title Du corps de l'acteur a la parole résurrectionnelle
title_full Du corps de l'acteur a la parole résurrectionnelle
title_fullStr Du corps de l'acteur a la parole résurrectionnelle
title_full_unstemmed Du corps de l'acteur a la parole résurrectionnelle
title_short Du corps de l'acteur a la parole résurrectionnelle
title_sort du corps de l acteur a la parole resurrectionnelle
topic Novarina (Valère)
dramatic writing
actor's body
theatrical reception
medieval theology
url https://journals.openedition.org/carnets/2619
work_keys_str_mv AT alexandragaudechaux ducorpsdelacteuralaparoleresurrectionnelle