Abstract
This essay first discusses Victor Hugo’s defence of grotesque, his defence
of Shakespeare, his achievements in Le roi s’amuse, and also the limitations due to his prophetic style. Piave and Verdi go further in Il Rigoletto,
especially in the dramatic polyphony of opposite voices and points of view.
Finally, we follow the creation of new kings, from Jarry’s Ubu to Ionesco’s
Le roi se meurt: the absurd dimension which the romanticists had felt but
had refused to surrender to is in the absurd and in most post-dramatic
theatre a double impossibility of giving sense to the world and language to
tragedy.
of Shakespeare, his achievements in Le roi s’amuse, and also the limitations due to his prophetic style. Piave and Verdi go further in Il Rigoletto,
especially in the dramatic polyphony of opposite voices and points of view.
Finally, we follow the creation of new kings, from Jarry’s Ubu to Ionesco’s
Le roi se meurt: the absurd dimension which the romanticists had felt but
had refused to surrender to is in the absurd and in most post-dramatic
theatre a double impossibility of giving sense to the world and language to
tragedy.
| Original language | Italian |
|---|---|
| Pages (from-to) | 1-23 |
| Number of pages | 23 |
| Journal | Itinera |
| Issue number | 6 |
| DOIs | |
| Publication status | Published - 2013 |
Keywords
- opera Verdi Vitor Hugo Ionesco