By Éric Laurrent
Ces derniers temps, Léon Brumaire paraît éprouver quelques difficultés dans l'élection tout à l. a. fois d'une femme specific et d'un homestead fixe.
Dehors est paru en 2000.
À propos d’Éric Laurrent
Éric Laurrent est né en 1966 à Clermont-Ferrand.
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Additional resources for Dehors
44 The possibility of substitution creates ambiguity as well as alternative meanings according to narrower or broader contexts of understanding. These linguistic features entail the polyvalence that is a sine qua non of the irony for which this play in particular is well known. Yet verbal ambiguity and polyvalence have no visual analogue: a stage-property must be either real or imaginary, one or many, representing the whole or only a part of something. Our dilemma is how to reconstruct unambiguous stage directions from a consciously ambiguous text.
Whatever view we ourselves finally adopt, both Teiresias and Oedipus see in all these things the workings of Apollo (376-7, 1329-30). Near the beginning of this chapter I offered an account of triangular desire; let me conclude it with another geometrical parable. When open, a belt is a longish rectangle. Done up properly, it has the shape of a cylinder. If the belt gets accidentally twisted through one hundred eighty degrees, the resulting surface differs fundamentally from the cylinder. The mathematician August Ferdinand Mobius discovered in 1865 that the surface, called the Mobius strip, has only one side.
A similar entry occurs at 531. For the second time in the play Oedipus offers himself in answer to prayer. B. "77 22 The Theatre of Apollo line 276: Here and elsewhere in iambic trimetres it is the koryphaios who speaks on behalf of the entire chorus. He will not be distinguished from them by his costume but possibly by his position in the orchestra, in what way we do not know. line 300: Enter Teiresias stage left accompanied by a boy (cf 444, Ant. 988-90, 1013, 1088) and by Oedipus's two servants (297 with Kamerbeek's note).
Dehors by Éric Laurrent