Martine Pelletier


Université de Tours, France.
Martine Pelletier, maître de conférences à l'université de Tours, est l'auteur du livre Brian Friel : Histoire et Histoires publié par Septentrion en 1997 ainsi que de nombreux articles sur le théâtre irlandais pour Coup de Théâtre, Études Irlandaises, Sources, The Irish University Review. Un ouvrage sur Brian Friel est à paraître chez Maunsell (U.S.A.) en 2002.

Articles de l'auteur


Cycnos | Volume 15 n°2

“Soi-même comme un autre”. Le monologue dans le théâtre irlandais contemporain

Taking exile as the condition of becoming estranged from oneself or indeed as Ricœur puts it, “seeing oneself as other,” this article seeks to understand why the monologue has become a form so beloved of Irish playwrights in recent years. Plays by J. Johnston, C. McPherson, D. O’Kelly, M. Jones, D. Bolger and B. Friel suggest different theatrical and ontological approaches to identity though all have in common the exclusion of dialogue. Those first-person retrospective narratives, confirm the influence of the psycho-analytical model and/or the stream of conciousness technique (including the use of the audience as interlocutor or even mediator) in which the speaking subject is also the object of discourse, though it is because the two never fully coincide that a fruitful distance is introduced. Can one still regard such works as belonging to the theatre? Ultimately it is the audience’s reaction which can demonstrate or question the theatrical nature of the plays.

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Cycnos | Volume 18 n°1

Marie Jones et Gary Mitchell : deux Belfastois à Londres

Irish playwrights have long had pride of place on the London stage. This article analyses the recent emergence of two dramatic voices from Belfast in the English capital, and the reasons for their somewhat unexpected triumphant reception by a most eager audience. Marie Jones’s Stones in His Pockets, due to transfer to Broadway in the spring, skilfully mixes pathos and humour in a celebration of theatricality. A small-budget, two-actor production, this play exposes the impact of the Hollywood film industry and its exploitative, distorting nature, on a small rural Irish community. In a radically different mode, Gary Mitchell, who also hails from the Protestant heartlands of Belfast, has brought to the Royal Court audiences plays of unremitting darkness, stark portrayals of a community under siege threatened by its own fears and violence. Mitchell’s talent resides partly in his ability to devise very tight plots addressing burning issues like the ongoing reform of the R.U.C. in The Force of Change. London spectators and critics have so far reacted very warmly to such works for different reasons, ranging from sheer curiosity — in particular in the case of Mitchell’s forays into the largely unexplored loyalist consciousness — to the romantic attraction of somewhat worn-out clichés of Irishness revisited by Jones. At a time when English theatre seems to be looking for new ways forward, those two Belfast voices come to testify to the impressive vitality of Irish theatre, of the Northern variety, offering London audiences both entertainment and food for thought.

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