| Titre | Gogol', point de départ des recherches sur le grotesque au théâtre et au cinéma après la révolution russe, 1917-1932 | |
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| Auteur | Béatrice Picon-Vallin | |
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Revue |
Cahiers du monde russe Titre à cette date : Cahiers du monde russe et soviétique |
| Numéro | volume 21, no 3-4, juillet-décembre 1980 | |
| Rubrique / Thématique | Articles |
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| Page | 333-359 | |
| Résumé anglais |
Béatrice Picon-Vallin, Gogol' — starting point of research on the grotesque in the theater and cinema after the Russian revolution, 1917-1932.
In the 1920's, the Soviet Russia is displaying a passionate interest in Gogol'. Formalists are analyzing his style, his plays are produced, his short stories are adapted in theater and cinema; debates on style and realism in theater (Stanislavsky, Meyerhold) take place with, as starting point, Gogol's material and its grotesque specificities. Gogol's violent contrasts, the language constructed in opposed strata and the flow between these strata, the interplay of realistic and fantastic elements never give a description corresponding to reality, but a kind of concentration of reality, meeting point of contradictory tensions, fully corresponding to the experience of the transition period lived by the 1917 generation. The theatrical grotesque comes into its own with Meyerhold's production of Revizor in 1926, in which it upholds the research of the FEX, the renovations and the practice of Vakhtangov and emerges into the concept of "fantastic realism". Source : Éditeur (via Persée) |
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| Article en ligne | http://www.persee.fr/web/revues/home/prescript/article/cmr_0008-0160_1980_num_21_3_1398 |
