![]() For him, Victor Hugo’s appeal lies in his impetuous, theatrical language, “fully saturated with dreams” and devoid of restraint, in which rhetorical excess compounds moral debauchery. He returns to the Romantic century for his third staging at the Comédie-Française after Cyrano de Bergerac (2006) and Fantasio (2008). Considered by George Sand as Hugo’s “most powerful” work, Lucretia Borgia, the embodiment of a “theatre of cruelty” as conceived by Antonin Artaud, represents for its author a victory over royal power and censorship.ĭenis Podalydès joined the Comédie-Française in 1997 and became its 505th sociétaire in 2000. The fine, literary, patron of the arts is thus transformed into a monster of maternal love. Hugo distorted the historical facts and adapted them to his dramatic vision by attributing the crime of fratricide to Lucretia rather than to Caesar Borgia. The King’s Fool was banned by royal authority after the first performance at the Comédie-Française while Lucretia Borgia, whose rehearsals Hugo diligently attended, enjoyed a successful run at the Théâtre de la Porte Saint-Martin. “Born at the same time in the same place of the heart” (Preface), the two plays differ in their form and destiny. In 1832, three years after the censorship of Marion Delorme and the momentous Hernani, “battle” between supporters of classicism and romanticism, Victor Hugo (1802-1885) wrote Lucretia Borgia and one month later The King’s Fool. A jobseeker - Beneficiary of welfare support. ![]()
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