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Jeu et spectacle dans l'œuvre de Boris Vian

Abstract : We have chosen to study what could be called Boris Vian's shows (that is: both drama and variety shows) in two different aspects: that of texts written in order to be performed on stage as well as that of "shows" included in works. So, this study, based on a close examination of texts, deals with the whole of Boris Vian's works (plays, songs and sketches as well as novels or short stories). We have tried to define "show" in connection with play (or game) and we have then pointed out its importance, whether the show should be play, song, or other forms of "show" such as dandyism. We have been interested in its limits; we have endeavored to establish what it aims at as well as the way it allows communication with the audience. At the same time, we have tried to specify what the functions of shows are and we have noticed that, if they are essential to the structure of numerous plays and novels, they also contribute to relate writing and playing. In order to understand Boris Vian's shows better, we have wished to set them in relation to the present-day world. Thus, they prove to be most often dual, at once critical and “pataphysical” and they enable their author to stand aloof. Vian probably used "show" as an instrument to express the "dandy revolt" of pleasure against death, but the true modernity of these works lies perhaps more in their "second degree", typical of the present-day society, and in a choice : that of "picture" and interactivity.
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Submitted on : Tuesday, April 24, 2018 - 4:01:37 PM
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Clotilde Suhner. Jeu et spectacle dans l'œuvre de Boris Vian. Littératures. Université Nancy 2, 1997. Français. ⟨NNT : 1997NAN21014⟩. ⟨tel-01776497⟩



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