{"id":26,"date":"2015-02-28T13:57:00","date_gmt":"2015-02-28T12:57:00","guid":{"rendered":""},"modified":"2026-07-12T09:00:38","modified_gmt":"2026-07-12T07:00:38","slug":"la-specificite-du-texte-de-theatre","status":"publish","type":"post","link":"https:\/\/maprofdelettres.fr\/index.php\/2015\/02\/28\/la-specificite-du-texte-de-theatre\/","title":{"rendered":"La sp\u00e9cificit\u00e9 du texte de th\u00e9\u00e2tre"},"content":{"rendered":"
\nLA SP\u00c9CIFICIT\u00c9 DU TEXTE DE TH\u00c9\u00c2TRE <\/span><\/b><\/span><\/div>\n
\n
<\/span><\/div>\n
\n    L\u2019\u0153uvre th\u00e9\u00e2trale est particuli\u00e8re parce qu’elle laisse le lecteur imaginer les personnages et les d\u00e9cors, car contrairement au roman, elle privil\u00e9gie le dialogue des personnages. Il n’y a pas de narrateur et l’auteur ne peut pas intervenir directement, c’est pourquoi il s’exprime \u00e0 travers un personnage.<\/span><\/span><\/div>\n
\n<\/div>\n
\n<\/div>\n
<\/a><\/div>\n

<\/p>\n

\n1. Un texte \u00ab\u00a0trou\u00e9\u00a0\u00bb<\/span><\/b><\/u><\/span><\/div>\n
\n<\/div>\n
\n    Le texte de th\u00e9\u00e2tre se caract\u00e9rise par ses manques<\/b>. Dans Le Misanthrope<\/i>, on ne sait rien de l’apparence ni de l’\u00e2ge d’Alceste. Ces manques ne constituent pas une faiblesse du texte mais au contraire en font sa richesse et permettent l’interpr\u00e9tation : <\/span><\/span><\/div>\n
\n<\/div>\n
\n\u00ab\u00a0l’incompl\u00e9tude du texte oblige le metteur en sc\u00e8ne \u00e0 prendre un parti\u00a0\u00bb (Anne Ubersfeld), <\/span><\/span><\/div>\n
\n<\/div>\n
\n\u00e0 pr\u00e9senter sa vision des personnages.<\/span><\/span><\/div>\n
\n    Cette incompl\u00e9tude est r\u00e9duite par les didascalies<\/b>. Ce discours, qui n’est pas \u00e0 dire mais \u00e0 appliquer, indique la liste des personnages, demande un jeu de sc\u00e8ne, un geste, un ton, un silence. Elles sont rares dans le th\u00e9\u00e2tre classique mais abondantes dans le th\u00e9\u00e2tre contemporain, ce qui rapproche davantage le th\u00e9\u00e2tre du roman.<\/span><\/span><\/div>\n
\n<\/div>\n
\n<\/div>\n
\n2. Une double \u00e9nonciation<\/span><\/b><\/u><\/span><\/div>\n
\n<\/div>\n
\n    Le texte de th\u00e9\u00e2tre instaure une double situation de communication : le dialogue des personnages est adress\u00e9 de l’auteur au lecteur mais aussi des com\u00e9diens au spectateur.<\/span><\/span><\/div>\n
\n<\/div>\n
\n<\/div>\n
\n3. Le dit et l’\u00e9crit<\/span><\/b><\/u><\/span><\/div>\n
\n
<\/span><\/span><\/div>\n
\n    Selon Pierre Larthomas, le texte de th\u00e9\u00e2tre est <\/span><\/span><\/div>\n
\n<\/div>\n
\n\u00ab\u00a0un compromis entre le dit et l’\u00e9crit\u00a0\u00bb.<\/span><\/span><\/div>\n
\n<\/div>\n
\nIl doit faire oublier qu’il est un texte pour donner l’illusion d’une parole improvis\u00e9e et vivante, avec tous les d\u00e9fauts du langage quotidien. Le langage de Moli\u00e8re se comprend par sa destination orale : interjections, pronoms personnels disjoints (moi<\/i>, toi<\/i>), les tournures expressives, parfois les jurons r\u00e9pondent \u00e0 ce souci d’oralit\u00e9.<\/span><\/span><\/div>\n
\n    M\u00eame les alexandrins (qui permettent la m\u00e9morisation du texte par les com\u00e9diens) simulent, certes artificiellement, un flot naturel de paroles et ne doivent pas para\u00eetre trop fabriqu\u00e9es ou trop po\u00e9tiques. \u00ab\u00a0Pas de beau vers !\u00a0\u00bb rappelle Hugo dans la Pr\u00e9face de Cromwell<\/i> : <\/span><\/span><\/div>\n
\n<\/div>\n
\n\u00ab\u00a0Ce sont en effet les beaux vers<\/i> qui tuent les belles pi\u00e8ces.\u00a0\u00bb <\/span><\/span><\/div>\n
\n<\/div>\n
\nIls font trop entendre la voix de l’auteur, ils privil\u00e9gient le plaisir lyrique par rapport au plaisir dramatique.<\/span><\/span><\/div>\n
\n    Le dialogue de th\u00e9\u00e2tre exclut aussi, en g\u00e9n\u00e9ral, les rat\u00e9s de la conversation ordinaire, les brouillages, les silences prolong\u00e9s. Le th\u00e9\u00e2tre contemporain, lui, use volontiers de diff\u00e9rentes formes de brouillage. Dans les pi\u00e8ces de Beckett et Ionesco, on trouve des didascalies comme \u00ab\u00a0Un temps<\/i>\u00ab\u00a0, \u00ab\u00a0Silence<\/i>\u00ab\u00a0, qui suscitent une atmosph\u00e8re \u00e0 la fois angoissante et comique.<\/span><\/span><\/div>\n
\n<\/div>\n
\n<\/div>\n","protected":false},"excerpt":{"rendered":"

LA SP\u00c9CIFICIT\u00c9 DU TEXTE DE TH\u00c9\u00c2TRE     L\u2019\u0153uvre th\u00e9\u00e2trale est particuli\u00e8re parce qu’elle laisse le lecteur imaginer les personnages et les d\u00e9cors, car contrairement au roman, elle privil\u00e9gie le dialogue des personnages. Il n’y a pas de narrateur et l’auteur ne peut pas intervenir directement, c’est pourquoi il s’exprime \u00e0 travers un personnage. 1. Un…<\/p>\n","protected":false},"author":2,"featured_media":27,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[6,4],"class_list":["post-26","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe","tag-notions","tag-theatre"],"yoast_head":"\nLa sp\u00e9cificit\u00e9 du texte de th\u00e9\u00e2tre - Ma Prof de Lettres<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/maprofdelettres.fr\/index.php\/2015\/02\/28\/la-specificite-du-texte-de-theatre\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La sp\u00e9cificit\u00e9 du texte de th\u00e9\u00e2tre - Ma Prof de Lettres\" \/>\n<meta property=\"og:description\" content=\"LA SP\u00c9CIFICIT\u00c9 DU TEXTE DE TH\u00c9\u00c2TRE     L\u2019\u0153uvre th\u00e9\u00e2trale est particuli\u00e8re parce qu’elle laisse le lecteur imaginer les personnages et les d\u00e9cors, car contrairement au roman, elle privil\u00e9gie le dialogue des personnages. 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