Jean Racine
Phèdre (1674), from the boards to the screen
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The present research aims at arousing a theme often practiced by dramatists during the era of perfect literature characterized by symmetry and based on impressive logic, in the classical age. We study here, a secular tragedy that only the genius of Racine could innovate in his time, among his colleagues in the dramaturgy. We demonstrate in the present thesis, how his perspective in Phèdre is not limited in the generality of the theatrical act that is satisfied by the distraction, the instruction and the entertainment. Now that the aforementioned Jansenist creator, tries to make transmit to th...
The present research aims at arousing a theme often practiced by dramatists during the era of perfect literature characterized by symmetry and based on impressive logic, in the classical age. We study here, a secular tragedy that only the genius of Racine could innovate in his time, among his colleagues in the dramaturgy. We demonstrate in the present thesis, how his perspective in Phèdre is not limited in the generality of the theatrical act that is satisfied by the distraction, the instruction and the entertainment. Now that the aforementioned Jansenist creator, tries to make transmit to the informed ones, in lyric verses and pathetic movements the terror and the pity - being involved in the spirit of his sick protagonist. From elsewhere, we define Eliacin's profile as a poet, philosopher and sociologist who mythologically interprets the abysmal portrait of the human condition and its external reflection.Let us add that the idea of analyzing the filmic adaptation of this masterpiece by making a comparative approach between Phaedra in the theater and her filmic performance is not regrettable, because, the character's cries become clearer on the screen.
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