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- W86245156 abstract "When writers' names become symbols this can obscure what they actually wrote. Racine and Shakespeare stand in symbolic opposition. Shakespeare represents full-blooded theatricality; Racine stands for an abstract disembodied form of tragedy. This opposition deserves to be challenged. Of course there are substantial differences between Racine and Shakespeare. Racine has no witches, no gravediggers, no storms, no battles on stage. Racine's tragedies have no low-life subplots and no deliberate excursions into the comic register. Furthermore Shakespeare's exuberant poetry is far removed from Racine's laconic formality. But these differences should not overshadow the similarities. Their theatrical relationship can be better understood by considering what they have in common, in particular the visual dimension of their dramatic art. If one supposes a scale of physical action from the batting of an eyelid to the fighting of battles, one can say that Shakespeare used the whole scale whilst Racine avoided the latter extreme. However, there remains a substantial range of visual language which both dramatists shared and both exploited for significant effect. The origins of the polarized view of Racine and Shakespeare can be found in Voltaire, who admired Racine, found much to criticize in Shakespeare, but applauded action on stage.1 Addressing Lord Bolingbroke in 1730, he emphasized the differences between French and English theatre:" @default.
- W86245156 created "2016-06-24" @default.
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- W86245156 date "1993-01-01" @default.
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- W86245156 title "Racine and Shakespeare: a common language" @default.
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- W86245156 hasPublicationYear "1993" @default.
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