Le je(u) polyphonique. Un modèle pragma-linguistique à rendre compte de la représentation théâtrale
The Polyphonic Representation. A Pragmalinguistic Pattern of Theatrical Representation

Summary/Abstract: Exploiting recent pragmalinguistic acquisitions, the present paper proposes a unitary approach to corpus phenomena which is specific to dramatic representation, starting from the ritual game/representation and up to the proper theatre (understood as aesthetic phenomenon). From a conceptual and methodological view, the unity of this approach results from the exploitation of polyphony as a concept. Through the discursive roles that it carries, the concept of polyphony is able to surprise the dialectic of “identification” and “the spacing” in theatre as well as in ritual. “The identification” and “the spacing” are fuzzy categories. Alternatively, the concept of “polyphony” emphasizes the same discursive mechanism. “The identification effect” manifests programmatically in “mimetic rituals” (Durkheim) and in Stanislavski’s practice. The “spacing effect” (Verfremdungseffekt) is specific to the theatric tradition of the Far East and is being theorized and systematically cultivated by Bertlot Brecht who confers it ideological connotations and a well defined social function.

• Details
• Contents