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- W2171921605 abstract "C'est toujours cela que j'ai voulu donner sur scene: faire voir la force violente des idees, comment elles ploient et tourmentent les corps. Antoine Vitez Two years ago, a philosophy professor friend remarked that he would never forget Jules and Jim and the sense of walking with Jeanne Moreau through the beautiful French countryside in spring with its colours in full bloom. When reminded that the film was shot in black and white, he replied that it must have impressed him so much that his imagination had added colour to it. To remember a walk through the landscape of another country and time, to insert one's own colours into a scene: does this occur in theatre as in film? And if the landscape can be transformed, what becomes of Jeanne Moreau? More specifically, what happens when such a star is imported onto the stage as a legend of woman incarnate? What happens semiotically when the ‘incarnate’ legendary woman confronts the material presence of the actress? These questions had already begun to emerge a year earlier, when I saw Moreau in person at Avignon, first on a performance on the open-air stage of the Com d'honneui in the fourteenth-century Palais des Papes, and then at a public discussion just outside the palace wall. In Antoine Vitez's 1989 production of La Célestine , Jeanne Moreau played the mercurial, irascible procuress Célestine, the first picara, a larger-than-life character popular in Spain for four centuries. The play was written in 1499 by Fernando de Rojas, who coined the term tragicomedy to describe it." @default.
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- W2171921605 date "1994-01-01" @default.
- W2171921605 modified "2023-10-02" @default.
- W2171921605 title "Woman and the City: The Semiotics of Embodiment" @default.
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- W2171921605 doi "https://doi.org/10.1017/s0307883300019337" @default.
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