Maurice Maeterlinck and the Making of Modern Theatre

Overview


Maurice Maeterlinck has been called the 'prodigal father' of modern theatre. As Rilke put it, he shifted theatre's center of gravity, replacing action with inaction, events with the eventless, and dialogue with an expressive semantics of silence. This study, the first in over a decade, traces the development of Maeterlinck's dramatic vision of extraordinary originality and depth.
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Overview


Maurice Maeterlinck has been called the 'prodigal father' of modern theatre. As Rilke put it, he shifted theatre's center of gravity, replacing action with inaction, events with the eventless, and dialogue with an expressive semantics of silence. This study, the first in over a decade, traces the development of Maeterlinck's dramatic vision of extraordinary originality and depth.
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Editorial Reviews

Stokes
Patrick McGuiness's strongly argued and extremely persuasive book, Maurice Maeterlinck and the Making of Modern Theatre, follows on from the example of recent scholars, the most distinguished and influential being Katharine Worth, who have traced a line of descent from Maeterlinck via Yeats to Beckett, but McGuiness shifts the emphasis from Maeterlinck, the suggestive exemplar, to Maeterlicnk, the serious theoretician.
The Times Literary Supplement
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Product Details

  • ISBN-13: 9780198159773
  • Publisher: Oxford University Press, USA
  • Publication date: 1/28/2000
  • Pages: 280
  • Product dimensions: 5.40 (w) x 8.60 (h) x 1.00 (d)

Meet the Author

St. Anne's College, Oxford
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Table of Contents

Abbreviations
Introduction 1
1 Symbolist Beginnings 13
Early Writings: 1886-90 14
A Decadent Poet: Serres chaudes (1889) 26
Language and Silence: Towards a Theatre of the Unspoken 34
Possible Theatres: Le Cahier Bleu and Revenge Tragedy 40
2 La Princesse Maleine and Symbolist Theatre 48
A Precursor: Villiers de l'Isle-Adam 51
The Search for a Symbolist Theatre 57
Towards a Consensus: Theatre and the Public 67
'Le seul drame a faire ...': Symbolism and 'Universal' Theatre 72
La Princesse Maleine 77
3 Maeterlinck, Mallarme, and Symbolist Dramatic Theory 90
The Trouble with Theatre 95
Theatre and Theatricality 98
Actors, Androids, and Marionettes 105
Theatre as Event 118
4 Theatre and the Invisible Principle: Pelleas Et Melisande 125
Discontinuous Melodrama 127
Character (In)Action 134
Puppet Theatre and Theatre of Shadows 151
Symbolism and Interpretation 154
A Closed Universe 159
Mallarme Reading Pelleas 162
5 Using the Stage 169
Form in Suspense 171
Spatial Relations and the Perception of Space in Les Aveugles 175
Space Besieged 187
Staging the Invisible 198
Staging Theatre: Interieur 202
A Theatre of Waiting 213
6 The Fecund Interval: 'Le Tragique Quotidien' 217
Theatre, Anti-theatre, and Non-theatre 220
The Everyday Transfigured 225
'L'Inconnu' 229
Static Theatre 235
'Second degree dialogue' and the 'troisieme personnage' 240
Language and Silence in the Theatre 248
Conclusion 254
Select Bibliography 259
Index 267
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