Le Sang et les Larmes
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En d�pit de l'affirmation de Racine dans la pr�face de B�r�nice que ce n'est point une n�cessit� qu'il y ait du sang et des morts dans une Trag�die , la mort et le suicide en particulier sont omnipr�sents dans ses trag�dies. Les pleurs vers�s par les personnages sur la sc�ne suscitent � leur tour les larmes du spectateur qui donne libre cours � ses propres �motions. Le Sang et les Larmes s'attache d'une part � cerner les particularit�s du suicide dans les trag�dies profanes de Racine et, de l'autre, � pr�senter les multiples enjeux po�tiques, dramaturgiques et esth�tiques du suicide. L'�tude contextuelle �tablit quelle est, sous Louis XIV, la pens�e officielle sur le suicide, et r�v�le plusieurs h�sitations et contradictions. L'�tude interne touche � des aspects majeurs de la dramaturgie racinienne: comment Racine r�ussit-il � contourner les limites fix�es par la biens�ance et quelle est la fonction des d�nouements tragiques ?
Le Sang et les Larmes oppose aussi la repr�sentation de l'acte suicidaire sur la sc�ne du th��tre classique aux strat�gies discursives des protagonistes de Racine. Une option parmi d'autres, le suicide devient essentiellement un moyen de chantage, mis au service d'une rh�torique cruelle destin�e � faire parler l'autre . Il s'agit de rem�dier � l'�chec de la communication en brisant un silence tenace qui accule les personnages tragiques au sacrifice . Comment ne pas �tre sensible � la violence de l'univers tragique racinien o� la parole tragique exprime davantage toute la cruaut� des affrontements entre les personnages ? Le th��tre classique est alors le lieu privil�gi� o� s'articule une v�ritable esth�tique de la mort, nonobstant les contraintes dramaturgiques qui en interdisent la repr�sentation directe sur la sc�ne.
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