Reference : Figures de l'intime et de l'extime : réflexions à partir du jeu de Marina Hands et d'...
Dissertations and theses : Doctoral thesis
Arts & humanities : Literature
Educational Sciences
Figures de l'intime et de l'extime : réflexions à partir du jeu de Marina Hands et d'Éric Ruf face à Phèdre de Jean Racine et à Partage de midi de Paul Claudel
Deregnoncourt, Marine mailto [University of Luxembourg > Faculty of Humanities, Education and Social Sciences (FDEF) > Department of Humanities (DHUM) >]
University of Luxembourg, ​​Luxembourg
Freyermuth, Sylvie mailto
Degott, Pierre mailto
Roelens, Nathalie mailto
Goetz, Olivier mailto
Gros de Gasquet, Julia mailto
Sounac, Frédéric mailto
[en] Entitled “The Figures of intimacy and extimacy: a Reflection on Marina Hands and
Eric Ruf’s acting in Jean Racine's Phèdre and Paul Claudel's Partage de midi”, this PhD
dissertation addresses the concepts of “intimacy” and “extimacy” as witnessed through Marina
Hands and Eric Ruf’s vocal and scenic acting in Patrice Chereau and Yves Beaunesne’s
respective productions of Racine's and Claudel's works. In the frame of these two shows both
actors manage to suggest “extimacy” with their body language, and to render “intimacy” thanks
to their “singing” diction of Racine’s alexandrine and Claudel’s free verse.
Throughout our development, we will display perpetual links between Racine and
Claudel, as suggested by the singular acting of these two performers. The problematic axis of
this dissertation is thus the following: “how does the combination of the “extimacy” of Marina
Hands and Éric Ruf’s body-language and the “intimacy” of their “singing” diction reveal the
musicality of Racine’s and Claudel’s languages?”. We shall see that “intimacy” turns out to
be “extimacy” on stage, and that the two concepts are nothing but two sides of the same coin.
“Intimacy” is the constant object of both Patrice Chereau's and Yves Beaunesne's research, to
the extent that it constitutes the essence of their artistic creations. In order to become
“extimacy”, “intimacy” has to be mediated by actors’ bodies if it means to serve the text
actually heard on stage. The union between body and text is therefore a central issue.

File(s) associated to this reference

Fulltext file(s):

Open access
THÈSE DE DOCTORAT - Manuscrit définitif.pdfAuthor preprint3.73 MBView/Open

Bookmark and Share SFX Query

All documents in ORBilu are protected by a user license.