Lits d’amour, lits de mort : « scènes » de chambre dans des tragédies françaises et anglaises au début du XVIIe siècle
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1 novembre 2019
- handle: 10670/1.clvhvf
- hal: hal-04063523
- doi: 10.4000/asf.688
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info:eu-repo/semantics/altIdentifier/doi/10.4000/asf.688
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Scenery (Stage) Stage scenery Staging Stage guides Art and theater Theatrical scenery Setting (Stage) Scenography Stage-setting Design, Theatrical Affection Frenchmen (French people)Citer ce document
Alban Déléris, « Lits d’amour, lits de mort : « scènes » de chambre dans des tragédies françaises et anglaises au début du XVIIe siècle », HAL-SHS : littérature, ID : 10.4000/asf.688
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The bedchamber is a locus of intimacy, conjugal love, adultery; it is also associated with sickness, the final days before life departs, and death. Staging bedchambers may seem contradictory, or impossible: this locus of secrets and taboo actions becomes a locus of public display, exposing intimacy to the scrutiny of inquisitorial spectators. Nonetheless, between the late 16th and early 17th centuries, bedchamber scenes feature recurrently in French and English drama, to the extent of becoming a topical setting in the dramatic production of the period.This article considers two little-known French examples: François du Souhait’s Tragédie française de Radegonde (1599) and Nicolas Chrestien des Croix’s tragedy, Rosemonde ou la Vengeance (1603). It examines those plays alongside the celebrated example of Shakespeare’s Cymbeline, with its two parallel bed scenes. The aim is to show how bedchamber scenes, staging a paradoxical space where what should be concealed is revealed, are situated at a generic crossroads, where love and laughter give way to blood and tears.