Title: Le « parlé-chanté » dans Phèdre de Jean Racine et Partage de midi de Paul Claudel
Author, co-author: Deregnoncourt, Marine
Abstract: In this article we will seek to answer how, in Phèdre to Jean Racine and Noon’s Sharing to Paul Claudel, the « parlé-chanté » is particularly significant. To do so, this article will be divided in three parts. In the first part, the « parlé-chanté » will be defined and linked to Arnold Schoenberg’s Sprechgesang. While the second part will issue on Phèdre by Jean Racine, the third and final part will focalize on Paul Claudel's Noon’s Sharing. By focusing on the two aforesaid plays we will try to prove that the operatic voice is always present in the acting choices and that the two playwrights accustomed the dramatic rules of their time.
Author, co-author: Deregnoncourt, Marine
Abstract: In this article we will seek to answer how, in Phèdre to Jean Racine and Noon’s Sharing to Paul Claudel, the « parlé-chanté » is particularly significant. To do so, this article will be divided in three parts. In the first part, the « parlé-chanté » will be defined and linked to Arnold Schoenberg’s Sprechgesang. While the second part will issue on Phèdre by Jean Racine, the third and final part will focalize on Paul Claudel's Noon’s Sharing. By focusing on the two aforesaid plays we will try to prove that the operatic voice is always present in the acting choices and that the two playwrights accustomed the dramatic rules of their time.