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<dc:title xml:lang="fr">Maeterlinck et les Japonais</dc:title>
<dcterms:alternative xml:lang="en">Maeterlinck and the Japanese</dcterms:alternative>
<dc:subject xml:lang="fr">Le Ningyôza</dc:subject>
<dc:subject xml:lang="fr">Le théâtre Nô</dc:subject>
<dc:subject xml:lang="fr">Le "Ma"</dc:subject>
<dc:subject xml:lang="fr">Le silence</dc:subject>
<dc:subject xml:lang="fr">Le symbolisme</dc:subject>
<dc:subject xml:lang="fr">La nature</dc:subject>
<dc:subject xml:lang="fr">L'eau</dc:subject>
<dc:subject xml:lang="fr">Le japonisme</dc:subject>
<dc:subject xml:lang="en">The Ningyôza</dc:subject>
<dc:subject xml:lang="en">The theater Nô</dc:subject>
<dc:subject xml:lang="en">The "Ma"</dc:subject>
<dc:subject xml:lang="en">The silence</dc:subject>
<dc:subject xml:lang="en">The symbolism</dc:subject>
<dc:subject xml:lang="en">The nature</dc:subject>
<dc:subject xml:lang="en">The water</dc:subject>
<dc:subject xml:lang="en">The japanism</dc:subject>
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<dcterms:abstract xml:lang="fr">Maeterlinck fut introduit pour la première fois au Japon en 1895 par un essai de Bin Ueda (1874-1916) intitulé 'La littérature belge'. Les liens entre Maeterlinck et le théâtre japonais fournissent des explications sur les particularités du théâtre japonais au moment de la « période maeterlinckienne », telle l'influence du concept des marionnettes de Gordon Craig et de Maeterlinck sur le théâtre japonais. Trois pièces de théâtre écrites par trois auteurs maeterlinckiens sont également analysées. Il s'agit de La rivière Ikuta d'Ôgai Mori, de Trois heures de l'après-midi d'Isamu Yoshii et de La veille de la commémoration d'Ujaku Akita. Ces œuvres établissent la différence avec laquelle les écrivains japonais voient le monde et appréhendent l'écriture symboliste. De plus, de nouveaux moyens pour avoir accès aux pièces de Maeterlinck au Japon sont présentés : ce sont les kamishibai et les dessins animés. Enfin, est introduit le concept du « Ma »1 qui est une des caractéristiques du théâtre japonais et que l'on retrouve souvent dans les pièces de Maeterlinck. Cela explique les raisons pour lesquelles les pièces de Maeterlinck attirent les Japonais, et à quel point cet auteur était moderne, avant-gardiste. Ses pièces jouées actuellement paraissent nouvelles, modernes, tandis que pour la critique à l'époque, il était ennuyeux, obnubilé par la mort.</dcterms:abstract>
<dcterms:abstract xml:lang="en">In 1895 in his essay "Belgian Literature", Bin Ueda (1874-1916) introduced Maeterlinck for the first time in Japan. As we study the connections between Maeterlinck and the Japanese theatre, we shall strive to provide explanations for the particularities of Japanese theatre during the "maeterlinckian period'', such as the influence of the concept of Gordon Craig and Maeterlinck's marionettes upon Japanese theatre. Three plays written by three maeterlinckian authors are also analyzed, namely The Ikuta River by Ôgai Mori, Three O'Clock in the Aftenwon by Isamu Yoshii, and The Day before the Commemoration by Ujaku Akita. Furthermore, we introduce new methods for approaching Maeterlinck's plays in Japan: these are kamishibai and animated films. Finally we introduce the concept of "Ma" which is one of the characteristics of Japanese theatre and which we often find in Maeterlinck's plays. This explains why Maeterlinck's plays attract the Japanese, and to what extent he was a modern, avant-garde writer. His plays being performed nowadays appear innovative and modern, whereas for critics in his day they were disturbing and preoccupied with death.</dcterms:abstract>
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