Hélène Lecossois

Université de Lille, France · English

Résumé Cet article propose une lecture de Oh les beaux jours (1963) et Comédie (1964) au prisme du contexte historique de leur création (modernisation accélérée, retrait dans la sphère privée, effritement de l’empire colonial français) et s’intéresse à l’intersection de l’intime et du politique. Le télescopage du salon bourgeois et de l’empire que...

Review of Thomas MacGreevy and the Rise of the Irish Avant-Garde, by Francis Hutton-Williams (Cork: Cork University Press, 2019). 148pp, ISBN: 978-1-78205-356-9. €40.10 (hardback).

Irish Revivalist playwright J. M. Synge is often regarded as a realist. Yet what happens when his work is analysed through wider performance studies and situated alongside less familiar historical contexts? By addressing this question, Hélène Lecossois offers new and valuable perspectives on Synge's plays while at the same time engaging with the co...

Irish Revivalist playwright J. M. Synge is often regarded as a realist. Yet what happens when his work is analysed through wider performance studies and situated alongside less familiar historical contexts? By addressing this question, Hélène Lecossois offers new and valuable perspectives on Synge's plays while at the same time engaging with the co...

Irish Revivalist playwright J. M. Synge is often regarded as a realist. Yet what happens when his work is analysed through wider performance studies and situated alongside less familiar historical contexts? By addressing this question, Hélène Lecossois offers new and valuable perspectives on Synge's plays while at the same time engaging with the co...

Irish Revivalist playwright J. M. Synge is often regarded as a realist. Yet what happens when his work is analysed through wider performance studies and situated alongside less familiar historical contexts? By addressing this question, Hélène Lecossois offers new and valuable perspectives on Synge's plays while at the same time engaging with the co...

Irish Revivalist playwright J. M. Synge is often regarded as a realist. Yet what happens when his work is analysed through wider performance studies and situated alongside less familiar historical contexts? By addressing this question, Hélène Lecossois offers new and valuable perspectives on Synge's plays while at the same time engaging with the co...

This video introduces the thematic contributions on ‘Experimental Art’.

Theatre and Residual Culture: J. M. Synge and Pre-Christian Ireland. By Christopher Collins . London: Palgrave Macmillan, 2016. Pp. xii + 301. £67.05/ $109 Hb. - Volume 42 Issue 3 - Hélène Lecossois

During his Parisian stays in the 1890s Synge studiedcultural anthropology at the Sorbonne and, as has been noted by critics, ‘the methodology he learnt there “took”’l and left traces on his own writing. While sojourning on the Aran Islands, he consigned everything he saw and heard to notebooks which he then reworked into a narrative partaking of th...

Impressively researched and clearly argued, Lauren Arrington’s book makes a significant contribution to the study of early 20th century Abbey Theatre productions in relation to the wider political context of the period. It also sheds fascinating light on the crucial (and often ambivalent) involvement of W. B. Yeats in both the management of the Abb...

This article aims at defining the nature of the traumatic experience that lies at the heart of Marina Carr’s The Mai and By the Bog of Cats. Here, Carr constructs characters that never emerge as subjects. The “subject” staged in the two plays is one whose individuation has never really occurred. The female protagonists, Hester Swane and The Mai, ar...

This article intends to study the main ways in which the body is materially presented in Samuel Beckett's dramatic work. Play after play, palpable signs of the body's presence are progressively reduced, and yet, paradoxically, the body is no less omnipresent. The positioning and the lighting of the body determine the emergence of the stage image an...

This article intends to study the main ways in which the body is materially presented in Samuel Beckett's dramatic work. Play after play, palpable signs of the body's presence are progressively reduced, and yet, paradoxically, the body is no less omnipresent. The positioning and the lighting of the body determine the emergence of the stage image an...

Dans ses « dramaticules », Beckett prive le comédien-personnage de la jouissance d'un corps qu'il masque, morcelle et efface petit à petit. Malgré cette déliquescence de l'organique, l'idée de corps envahit l'espace scénique et s'inscrit au cœur même de l'écriture dramatique beckettienne. L'image du corps semble avoir la capacité de se fragmenter,...