Reflexive aesthetics of insertion in Marivaux’s Les Acteurs de bonne foi | ||||
| مجلة كلية الآداب - جامعة القاهرة | ||||
| Volume 2020, Issue 7, July 2020 | ||||
| DOI: 10.21608/jarts.2020.115433 | ||||
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| Author | ||||
| Heïdi Sami Zaki | ||||
| Département de Langue et de littérature Français, Faculté des arts, Université du Caire | ||||
| Abstract | ||||
| This study presents a new study of Marivaux’s Les Acteurs de bonne foi in a reflexive perspective that highlights the stratified nature of the links between the characters and their relationship to space and time. If the space is doubled by the play of the characters, the actors constantly move between the status of actor and spectator, which allows them to take a distanced look at their partners and to question their relationship. The psychosocial confrontation of oneself with the other is underlined by the use of tools of heterotopy and mise en abyme. The questions of rupture or continuity on the theatrical level appear in a condensed temporality and in a will to return to the starting point in search of euphoria illustrating the entertaining scope of the play. The actantial sequences multiply because of this dynamic and result in a balance in the relations of force sought throughout the plot.The character's freedom to move from being a comedian to being a spectator provokes insecurity in his relationship with the other and makes love relationships extremely tense. The suspense created by this tension reveals the success of the love trial concocted at the beginning and strengthens the characters in their desire to unite with their partner. | ||||
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