17 juin 2013
https://www.openedition.org/12554 , info:eu-repo/semantics/openAccess
Isabelle Schwartz-Gastine, « Les femmes romaines à la scène : incarnation des valeurs antiques ? », Presses universitaires François-Rabelais, ID : 10.4000/books.pufr.2855
Painters (such as Nicolas Poussin) and directors alike have favoured the representation of the all-powerful mother of Coriolanus kneeling down to save Rome (Quin in 1749, Ellen Terry opposite Henri Irving at the Lyceum Theatre in 1901, Colonna Romano at the Comédie-Française in 1934, Gabriel Garran’s production at the 1977 Avignon Festival). However, in most productions now a tension is perceptible within the female sequences opposing Volumnia and Virgilia, who is no longer conceived as obedient (Antoine’s staging at the Odeon Theatre in 1910, Strehler’s at the Piccolo Theatre in 1957-58). The exploration of individual destinies seems to supersede Roman values.