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<dc:title xml:lang="fr">Spectacles du "Sacré" chez Claudel, Sartre, Pasolini et Fo : révélations, incarnations, subversion ?</dc:title>
<dcterms:alternative xml:lang="en">Performances of the "sacred" at Claudel, Sartre, Pasolini, Fo : revelations, incarnations, subversion?</dcterms:alternative>
<dc:subject xml:lang="fr">Lettres, Sciences Humaines et Sociales</dc:subject>
<dc:subject xml:lang="fr">Claudel</dc:subject>
<dc:subject xml:lang="fr">Sartre</dc:subject>
<dc:subject xml:lang="fr">Pasolini</dc:subject>
<dc:subject xml:lang="fr">Fo</dc:subject>
<dc:subject xml:lang="fr">Théâtre</dc:subject>
<dc:subject xml:lang="fr">Cinéma</dc:subject>
<dc:subject xml:lang="fr">Création</dc:subject>
<dc:subject xml:lang="fr">Sacré</dc:subject>
<dc:subject xml:lang="fr">Polyphonie</dc:subject>
<dc:subject xml:lang="fr">France</dc:subject>
<dc:subject xml:lang="fr">Italie</dc:subject>
<dc:subject xml:lang="fr">Russie</dc:subject>
<dc:subject xml:lang="fr">Foi</dc:subject>
<dc:subject xml:lang="fr">Sciences</dc:subject>
<dc:subject xml:lang="fr">Marxisme</dc:subject>
<dc:subject xml:lang="fr">Histoire</dc:subject>
<dc:subject xml:lang="fr">Salut</dc:subject>
<dc:subject xml:lang="en">Claudel</dc:subject>
<dc:subject xml:lang="en">Sartre</dc:subject>
<dc:subject xml:lang="en">Pasolini</dc:subject>
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<dc:subject xml:lang="en">Theater</dc:subject>
<dc:subject xml:lang="en">Cinema</dc:subject>
<dc:subject xml:lang="en">Creation</dc:subject>
<dc:subject xml:lang="en">Sacred</dc:subject>
<dc:subject xml:lang="en">Polyphony</dc:subject>
<dc:subject xml:lang="en">France</dc:subject>
<dc:subject xml:lang="en">Italy</dc:subject>
<dc:subject xml:lang="en">Russia</dc:subject>
<dc:subject xml:lang="en">Faith</dc:subject>
<dc:subject xml:lang="en">Science</dc:subject>
<dc:subject xml:lang="en">Marxism</dc:subject>
<dc:subject xml:lang="en">History</dc:subject>
<dc:subject xml:lang="en">Eschatology</dc:subject>
<dc:subject xml:lang="en">Salvation</dc:subject>
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<tef:elementdEntree autoriteExterne="026790475" autoriteSource="Sudoc">Claudel, Paul (1868-1955)</tef:elementdEntree>
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<tef:elementdEntree autoriteExterne="027123227" autoriteSource="Sudoc">Sartre, Jean-Paul (1905-1980)</tef:elementdEntree>
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<tef:elementdEntree autoriteExterne="027059456" autoriteSource="Sudoc">Pasolini, Pier Paolo (1922-1975)</tef:elementdEntree>
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<tef:elementdEntree autoriteExterne="026867729" autoriteSource="Sudoc">Fo, Dario (1926-2016)</tef:elementdEntree>
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<tef:elementdEntree autoriteExterne="035362766" autoriteSource="Sudoc">Théâtre -- Histoire</tef:elementdEntree>
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<tef:elementdEntree autoriteExterne="027308332" autoriteSource="Sudoc">Cinéma et littérature</tef:elementdEntree>
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<tef:elementdEntree autoriteExterne="027237516" autoriteSource="Sudoc">Marxisme</tef:elementdEntree>
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<tef:vedetteRameauNomCommun>
<tef:elementdEntree autoriteExterne="027366529" autoriteSource="Sudoc">Salut</tef:elementdEntree>
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<dcterms:abstract xml:lang="fr">La thèse examine ce qui a été nommé « sacré » par les auteurs étudiés, en posant un regard croisé sur la façon dont il a été exprimé au théâtre par Claudel avec Le Soulier de satin (1929), par Sartre, avec Bariona, ou le jeu de la douleur et de l’espoir (1940), et avec Les Mouches (1943), par Fo avec Mistero buffo (1969), ainsi qu’au cinéma par Pasolini, avec La ricotta (1963), Il Vangelo secondo Matteo (1964), et Teorema (1968). Le flottement sémantique entourant le mot « sacré », ainsi que l’apparente dissonance du corpus induisent une zone d’indétermination conceptuelle féconde et oriente la réflexion autour de trois grands axes : l’étude de la richesse du langage symbolique du sacré, son mode d’incarnation dans les spectacles, et leur ancrage dans l’Histoire. La polyphonie des voix des auteurs, et les points de convergence qui pourtant se manifestent révèleront la fragilité d’une pensée articulée autour d’une opposition paradigmatique. D’où l’enjeu de ce travail : rappeler l’importance de la nuance et de l’interprétation symbolique.</dcterms:abstract>
<dcterms:abstract xml:lang="en">The thesis aims at examining what has been called 'sacred' by the authors studied, by looking at the way it has been expressed in theatre by Claudel with Le Soulier de satin (1929), by Sartre, with Bariona, ou le jeu de la douleur et de l'espoir (1940) and with Les Mouches (1943), by Fo with Mistero buffo (1968), and in cinema by Pasolini, with La ricotta (1963), Il Vangelo secondo Matteo (1964), and Teorema (1968). The semantic hesitation surrounding the word "sacred", as well as the apparent dissonance of the corpus, induce a zone of fertile conceptual indeterminacy and concentrate the reflection on three main lines: the study of the richness of the symbolic language of the sacred, its mode of embodiment in shows, and their anchorage in History. The polyphony of the authors' voices, and the focal points that nevertheless emerge, will reveal the fragility of a thought articulated around a paradigmatic opposition. Hence the challenge of this work: to recall the importance of nuance and symbol.</dcterms:abstract>
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