Lydie Parisse
Cahiers ERTA, Numéro 33, 2023, pp. 11-41
https://doi.org/10.4467/23538953CE.23.001.17563The author evokes some hypotheses on the question of the negative way as a structural data in relation to the process of Beckettian writing (the critical position with respect to language; the practice of dispossession; disfigurement) by taking up elements of his books published by Classiques Garnier in 2019: La parole trouée. Beckett, Tardieu, Novarina, and Les Voies négatives de l’écriture dans le théâtre moderne et contemporain.
Lydie Parisse
Cahiers ERTA, Numéro 36, 2023, pp. 177-217
https://doi.org/10.4467/23538953CE.23.037.18977Traduction de Pour un oui pour un non pour la création de la pièce en version anglaise par Simone Benmussa le 29 mai 1985 à New York. Nathalie Sarraute's theater is part of the attitude of suspicion towards language which marked her era, being part of a drama of speech which leaves a large part to the negative notions of silence, of doubt carried on the instance of speech, emptiness, even worry. However, there is some dramatic action in Le Silence and Pour un oui pour un non. Between her first and last piece, the characters weigh themselves down with flesh and develop a poetics of vertigo, which expresses the dissolution of the self, the presence-absence in the world, the enigma of otherness
Lydie Parisse
Cahiers ERTA, Numéro 21, 2020, pp. 83-97
https://doi.org/10.4467/23538953CE.20.005.12026