Le drame tragique entre grotesque et profanedans Barrabas de Michel de Ghelderode

Abstract

The present article handles, in the form of exploration, grotesque processes in the particular universe of the theater. For this study, we chose to concern the analysis the room (part, play) Barrabas de Michel de Ghelderode who is one of the biggest Belgianplaywrights of the XXth century and whose world aura in the dramaturgic writing is indisputable. His (her,its) rich production holds(likes) the originality of its dramatic art which distinguishes him(it) from all the types(chaps) of theater known in France at that time. Although joining the theater of cruelty, the room(part,play) Barrabas is characterized by a black humor (scene(stage) of farce parodying the torture of the ordeal(Calvary) imposed on the crucified Christ) and stuffed by grotesque one omnipresent (festive scenes(stages) in the square in parallel in the scene(stage) of the crucifixion, the laughter and the grotesque body, the vocabulary of the obscenities and the swearwords). An in-depth reconfiguration of the dramatic composition characterized by the métathéâtre and the grotesque, that is the coeducation(mixing) of registers: the sacred and the layman, the sublime and grotesque, autoreferentiality and ironic distance, even the theater in the theater, according to Antonine Artaud the theater and its double(copy). The general hypothesis that we settled is that a very strong omnipresence of the grotesque element, illustrated by the humor black, forms the esthetics of the room through several theatrical processes and metatheatres. Three parts make up our work to try to validate our general hypothesis. First of all, a summary of the room will detail its main moments-keys. His dramatic structure and his characters are analyzed and listed in the second part. The most relevant various allusive processes in the grotesque esthetics, which are transposed into the structure of the work, establish the third part.