71<\/div><\/div><\/div><\/div>Automne \/\u00a0<\/strong>Autunno\u00a0<\/strong>2016<\/strong><\/h2>\nKalisky l\u2019intempestif ?\u00a0<\/strong><\/em>Relectures contemporaines d\u2019une \u0153uvre du XXe<\/sup>\u00a0si\u00e8cle<\/strong><\/em><\/h1>\nsous la direction de<\/strong><\/h3>\nAur\u00e9lia Kalisky et Agnese Silvestri<\/strong><\/h3>\n![\"\"](\"http:\/\/www.lilec.it\/francofonia\/wp\/wp-content\/uploads\/2017\/03\/JSTOR_Logo_RGB_60x76-1.gif\")
<\/a><\/p>\nLire ce num\u00e9ro sur JSTOR<\/a>
\nLeggere questo numero su JSTOR<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Sommaire \/\u00a0<\/span>Indice<\/span><\/h2>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Aur\u00e9lia Kalisky<\/strong>, Agnese Silvestri<\/strong>, Relire Kalisky, une \u0153uvre opportune<\/p>\nJacques De Decker<\/strong>, Kalisky, plus que jamais pr\u00e9sent<\/p>\n<\/div>Articles<\/h4><\/a><\/li>
R\u00e9sum\u00e9s<\/h4><\/a><\/li>
Abstracts<\/h4><\/a><\/li>
Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>Articles<\/h4><\/a><\/li><\/ul><\/div>\nMarc Quaghebeur<\/strong>, Une autopsie qui va plus loin que celle du cadavre de Charles le T\u00e9m\u00e9raire<\/p>\nElena Quaglia<\/strong>, L’\u00e9criture post-g\u00e9nocidiaire entre Jim le T\u00e9m\u00e9raire<\/em> et Falsch<\/em>. Un infl\u00e9chissement du paradoxe \u00e0 la pr\u00e9t\u00e9rition<\/p>\nAur\u00e9lia Kalisky<\/strong>, Un discours de mutant comme une escadrille de F16. L’\u00e9criture romanesque de Kalisky dans L’Impossible Royaume<\/em><\/p>\nDavid Willinger<\/strong>, Confirmation of a Belgian National Repertoire Issuing from Maeterlinck in the Dramaturgy of Kalisky’s Dave au bord de mer<\/em><\/p>\nAnnamaria Laserra<\/strong>, De Romain Gary \u00e0 Ren\u00e9 Kalisky, les deux Europa<\/em> de 1972<\/p>\nAgnese Silvestri<\/strong>, \u00ab Surjouer\u00a0\u00bb avec le feu: Le Pique-nique de Claretta<\/em> et la mise en sc\u00e8ne de Vitez<\/p>\n<\/div>R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div>\nMarc Quaghebeur<\/strong>,\u00a0Une autopsie qui va plus loin que celle du cadavre de Charles le T\u00e9m\u00e9raire
\nSc\u00e9nario fait de d\u00e9multiplications jouant notamment du flash-back, le Charles le T\u00e9m\u00e9raire<\/i> de Ren\u00e9 Kalisky ne fut jamais cr\u00e9\u00e9 mais \u00e9dit\u00e9 \u00e0 titre posthume dans sa version princeps. Les t\u00e9l\u00e9visions commanditaires non seulement contraignirent l\u2019auteur \u00e0 r\u00e9\u00e9crire son texte dans un sens lin\u00e9aire, mais ne le port\u00e8rent pas \u00e0 l\u2019\u00e9cran. Ce chef-d\u2019\u0153uvre est plus que l\u2019exceptionnelle restitution sc\u00e9nique et visuelle d\u2019un parcours historique et d\u2019une personnalit\u00e9 marquante de la fin du XVe<\/sup>\u202fsi\u00e8cle. L\u2019autopsie du cadavre au visage m\u00e9connaissable d\u00e9passe en effet celle de l\u2019identification de la d\u00e9pouille d\u00e9couverte dans la glace aux abords de Nancy. Elle renvoie \u00e0 l\u2019Histoire profonde de la Belgique et des pays d\u2019entre-deux dont Celle-ci est l\u2019embl\u00e8me\u202f; et, \u00e0 travers Elle, aux identit\u00e9s complexes qu\u2019a toujours d\u00e9fendues Ren\u00e9 Kalisky. Plaidoyer majeur du dramaturge et essayiste contre la d\u00e9shistoire, ce texte se focalise fonci\u00e8rement sur les visages. Il est au minimum \u00e0 triple entente. Kalisky a invent\u00e9 la Forme, baroque et visuelle, de cette Histoire, Forme qui met \u00e0 mal bien des clich\u00e9s.<\/p>\nElena Quaglia<\/strong>,\u00a0L’\u00e9criture post-g\u00e9nocidiaire entre Jim le T\u00e9m\u00e9raire<\/em>\u00a0<\/i>et\u00a0<\/i>Falsch. <\/em>Un infl\u00e9chissement du paradoxe \u00e0 la pr\u00e9t\u00e9rition
\n<\/em>Cet article essaie de montrer comment, dans l\u2019\u0153uvre de Ren\u00e9 Kalisky, le traumatisme engendr\u00e9 par la d\u00e9portation du p\u00e8re cr\u00e9e les fondements d\u2019une \u00e9criture o\u00f9 le questionnement de l\u2019identit\u00e9 juive ne peut que frayer avec la conscience de la mort. Ainsi, dans Jim le T\u00e9m\u00e9raire<\/i>, o\u00f9 le Juif semble avoir besoin du bourreau pour se d\u00e9finir, Kalisky emploie une \u00e9criture paradoxale, r\u00e9gie par la \u00ab hantologie \u00bb et par la \u00ab hontologie \u00bb. Dans Falsch<\/i>, le dramaturge r\u00e9ussit \u00e0 faire le deuil du pass\u00e9, \u00e0 travers une \u00e9criture de la pr\u00e9t\u00e9rition, que l\u2019on retrouve chez de nombreux auteurs de sa g\u00e9n\u00e9ration : tout en niant la possibilit\u00e9 d\u2019une repr\u00e9sentation artistique de l\u2019horreur, le texte laisse cependant entrevoir l\u2019opportunit\u00e9, pour le survivant, de comprendre les souffrances des disparus et d\u2019assumer sa jud\u00e9it\u00e9 d\u00e9ficitaire.<\/p>\nAur\u00e9lia Kalisky<\/strong>,\u00a0Un discours de mutant comme une escadrille de F16. L’\u00e9criture romanesque de Kalisky dans\u00a0L’Impossible Royaume
\n<\/em>Dans cet article, Aur\u00e9lia Kalisky se penche sur l\u2019unique roman de Ren\u00e9 Kalisky, L\u2019Impossible Royaume<\/i>. Centr\u00e9 sur les th\u00e8mes du sionisme et l\u2019identit\u00e9 juive en relation avec l\u2019histoire de l\u2019\u00c9tat d\u2019Isra\u00ebl, ce r\u00e9cit de fiction \u00e9crit \u00e0 la premi\u00e8re personne relate le parcours d\u00e9senchant\u00e9 d\u2019un sc\u00e9nariste juif parisien confront\u00e9 aux limites de la cr\u00e9ation artistique et de l\u2019engagement politique face \u00e0 ce qu\u2019il per\u00e7oit comme la d\u00e9rive nationaliste de l\u2019\u00c9tat h\u00e9breu \u00e0 la fin des ann\u00e9es 1970. Aur\u00e9lia Kalisky en analyse la po\u00e9tique en s\u2019int\u00e9ressant notamment \u00e0 la nature transg\u00e9n\u00e9rique d\u2019un \u00ab\u202froman-essai\u202f\u00bb tenant \u00e0 la fois du pamphlet et du roman proph\u00e9tique, empruntant simultan\u00e9ment ses codes au roman d\u2019initiation ou au r\u00e9cit de voyage satirique. Elle met en \u00e9vidence la dimension r\u00e9flexive d\u2019un r\u00e9cit retra\u00e7ant l\u2019\u00e9chec d\u2019une utopie en acte\u202f: celle d\u2019un art capable d\u2019inverser le cours mortif\u00e8re d\u2019une histoire marqu\u00e9e par la r\u00e9p\u00e9tition catastrophique.<\/p>\nDavid Willinger<\/strong>,\u00a0Confirmation of a Belgian National Repertoire Issuing from Maeterlinck in the Dramaturgy of Kalisky’s\u00a0Dave au bord de mer
\n<\/em>Le but de cet essai est de mettre en \u00e9vidence les liens de filiation, peu \u00e9vidents \u00e0 premi\u00e8re vue, existant entre son \u0153uvre et celle de Maurice Maeterlinck. C\u2019est surtout dans ses deux pi\u00e8ces consacr\u00e9s \u00e0 des th\u00e8mes li\u00e9s \u00e0 son identit\u00e9 juive, Jim le t\u00e9m\u00e9raire et Dave au bord de mer<\/em>, que les affinit\u00e9s entre les \u0153uvres se manifestent le plus clairement. Maeterlinck comme Kalisky ignoraient les exigences de la mise en sc\u00e8ne, mais c\u2019est aussi sur plusieurs autres aspects que les dramaturgies des deux auteurs belges peuvent \u00eatre rapproch\u00e9es : l\u2019emploi de la stasis et le refus d\u2019une action dramatique normative caract\u00e9ristique de la pi\u00e8ce bien faite ; le recours aux m\u00e9ta-narratifs tir\u00e9s de contes de f\u00e9es dans le cas de Maeterlinck et du Livre de Samuel chez Kalisky ; l\u2019emphase sur la musicalit\u00e9 du langage et l\u2019usage des r\u00e9p\u00e9titions ; l\u2019emploi, enfin, de personnages arch\u00e9typiques qui ont en m\u00eame temps conscience de leur qualit\u00e9 de personnages de th\u00e9\u00e2tre.<\/p>\nAnnamaria Laserra<\/strong>, De Romain Gary \u00e0 Ren\u00e9 Kalisky, les deux\u00a0<\/i>Europa<\/em>\u00a0<\/i>de 1972
\nCet essai tente d\u2019\u00e9valuer l\u2019impact d\u2019Europa<\/i>, roman de Romain Gary, sur Ren\u00e9 Kalisky, en le mettant en relation avec un souci de renouvellement esth\u00e9tique commun aux deux \u00e9crivains, et s\u2019exprimant chez l\u2019un dans le roman, chez l\u2019autre dans le th\u00e9\u00e2tre. Trouvant Europa<\/i> \u00ab\u202fextraordinairement th\u00e9\u00e2tral\u202f\u00bb, Kalisky en donna une adaptation sc\u00e9nique. N\u00e9anmoins, par la suite, il reconnut davantage l\u2019influence d\u2019Antoine Vitez et eut l\u2019impression que l\u2019essentiel de l\u2019apport garyen \u00e0 sa d\u00e9marche s\u2019\u00e9tait limit\u00e9 \u00e0 la seule conception de l\u2019espace et du temps. En r\u00e9alit\u00e9, cet apport est all\u00e9 bien plus loin. \u00c0 l\u2019analyse, on constate chez Gary un renouvellement de l\u2019art romanesque comparable \u00e0 celui que Vitez a op\u00e9r\u00e9 dans le th\u00e9\u00e2tre. Ses id\u00e9es ont constitu\u00e9 le noyau essentiel de ce que Kalisky consid\u00e9ra plu tard avoir trouv\u00e9 chez Vitez. Cette \u00e9tude tente de faire la part des choses en rendant \u00e0 Gary ce qui lui appartient au sein du processus de maturation cr\u00e9atrice de Kalisky.<\/p>\nAgnese Silvestri<\/strong>, \u00abSurjouer\u00bb\u00a0avec le feu:\u00a0<\/i>Le Pique-nique de Claretta<\/em>\u00a0et la mise en sc\u00e8ne de Vitez
\nCet article revient sur la rencontre entre Ren\u00e9 Kalisky et Antoine Vitez et sur la mise en sc\u00e8ne, en 1974, du Pique-nique de Claretta<\/i>. Il pr\u00e9cise les raisons d\u2019une d\u00e9couverte r\u00e9ciproque dans l\u2019exigence, \u00e9galement ressentie par l\u2019un et l\u2019autre artiste, d\u2019un renouvellement des formes dramatiques, ainsi que d\u2019un d\u00e9passement des limites du brechtisme. En s\u2019appuyant sur des sources vari\u00e9es et encore inexploit\u00e9es (la correspondance entre les deux artistes, leurs brouillons in\u00e9dits, leurs notes de travail, les nombreux comptes rendus de la pi\u00e8ce), il analyse les diff\u00e9rences qui se dessinent entre la dramaturgie du texte et celle de la mise en sc\u00e8ne. L\u2019aspiration kaliskienne \u00e0 un th\u00e9\u00e2tre qui assume des risques pour se lib\u00e9rer d\u2019un manich\u00e9isme r\u00e9ducteur et inefficace \u00e0 lutter contre les nouvelles formes de fascisme, r\u00e9v\u00e8le une audace qui, en cette occasion, par rapport aux sch\u00e9mas culturels de l\u2019\u00e9poque, appara\u00eet plus libre que celle d\u2019Antoine Vitez.<\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>\nMarc Quaghebeur<\/strong>, An autopsy that goes further than that of the corpse of Charles the Bold
\nAssembling shattered pieces of history, moving backward and forward through time and space, Ren\u00e9 Kalisky\u2019s Charles le T\u00e9m\u00e9raire initially took the form of a commissioned tv script, which was never shot but posthumously published in its earliest version. in fact, the co-producing broadcasters demanded that the author rewrite it as a linear script, but in the end decided against shooting it anyway. this masterpiece is much more than an exceptional reconstitution of an outstanding 15th century historical episode or figure. the autopsy done on a faceless corpse leads not only to the identification of physical remains discovered in the icy vicinity of Nancy : it also opens up an in-depth analysis of Belgium history, as well as any such \u00ab in-between country \u00bb, and stages complex identities, which was Kalisky\u2019s main concern. By focusing principally on the topic of faces and figures, and so bringing at least three divergent meanings to the fore, this work can be regarded as a plea against the temptation to unravel history. Kalisky literally invented a baroque and visual form that cleanses history of all the clich\u00e9s and stereotypes that generally accrue to it.<\/p>\nElena Quaglia<\/strong>, The post-genocidiary writing between Jim le T\u00e9m\u00e9raire <\/em>and Falsch. <\/em>A mutation from the paradoxe to the preterition
\nThis article attempts to show how, in the works of Ren\u00e9 Kalisky, the original trauma of his father\u2019s deportation creates a form of writing in which Jewishness is necessarily associated with the awareness of death. In Jim le T\u00e9m\u00e9raire<\/em>, the Jew seems to have need of his executioner in order to define himself : Kalisky adopts a form of paradoxical writing about Jewishness, governed by \u00ab hauntology \u00bb and \u00ab hontology \u00bb. In Falsch<\/em>, the playwright manages to mourn for the past, through preterition, a form of writing typical of his generation. While the text denies the potential for artistic representation of the horror-inducing events, it suggests nonetheless that the survivor ultimately be given the opportunity to understand the suffering of all that has been lost and to accept his own inadequate Jewishness.<\/p>\nAur\u00e9lia Kalisky<\/strong>, A mutant discourse like an F16 squadron. Kalisky\u2019s novel writing in L\u2019Impossible Royaume<\/em>
\n<\/em>In her article, Aur\u00e9lia Kalisky focuses on Ren\u00e9 Kalisky\u2019s one and only novel, L\u2019Impossible Royaume. Emphasizing themes of Zionism and Jewish identity in relation to the story of the state of Israel, this first-person fictional narrative relates the disillusioned trajectory of a Jewish filmscript writer living in Paris who is forced to realize the limits to artistic creation and political engagement when confronted with the dominant nationalist thrust behind the Hebrew state toward the end of the 1970s. Aur\u00e9lia Kalisky focuses on the trans-generic nature of a \u00ab\u202fnovel-essay\u202f\u00bb, with its opposing pulls between political pamphlet and prophetic novel, that simultaneously employs codes native to the novel of initiation as well as the satirical travel book. She exposes the reflexive dimension of a narrative that takes us through the failure of a Utopia in the making\u202f: that of an art capable of overturning the fatal course of a history marked by catastrophic repetitions.<\/p>\nDavid Willinger<\/strong>,\u00a0Confirmation of a Belgian National Repertoire Issuing from Maeterlinck in the Dramaturgy of Kalisky’s\u00a0Dave au bord de mer<\/em>
\nThis essay traces some tantalizing connections between the first major Belgian playwright, Maurice Maeterlinck, and his seemingly unlikely theatrical descendant, Ren\u00e9 Kalisky. Particularly in his two masterpieces on Jewish themes, Jim le t\u00e9m\u00e9raire and Dave au bord de mer, we can see the \u00ab\u202ffamily resemblance\u202f\u00bb most clearly. Though ignorant of theatre practice, the two Belgians\u2019 dramaturgies reflect each other\u202f: the use of stasis and backgrounding normal dramatic action\u202f; in resorting to meta-narratives, in Maeterlinck\u2019s case, through fairy tales of the Brother Grimm and others and in Kalisky\u2019s the Old Testament Book of Samuel\u202f; the emphasis on musicality of language and such techniques as repetition over the mechanism of the Well-Made Play\u202f; the use both of archetypical characters and characters who manifest a consciousness of their own theatricality, all accumulate to form a picture of national theatrical identity in this pairing.<\/p>\nAnnamaria Laserra<\/strong>, From Romain Gary to Ren\u00e9 Kalisky, the two Europa <\/em>of 1972
\n<\/i>This study endeavors to sort through the reasons for the great impact that Romain Gary\u2019s novel, Europa, had on playwright Kalisky, who adapted it for the stage the very year of its publication. Both writers had in common a desire to renew their respective arts. However, while at an earlier point in his career, the younger Kalisksy recognized Gary\u2019s influence on him, he instead later avowed the influence of another master playwright, Antoine Vitez, on his approach to theater. Nonetheless a close reading of the epistolary exchanges between Kaliksy and Vitez and others writers clearly shows that Gary\u2019s impact on Kaliksy indeed preceded the ideas he purported to have found in Vitez. In fact, one may see some similarity between Gary\u2019s renewal of the art of narrative and that Vitez brought to theater. Kaliksy indeed had once qualified Europa as an \u00ab\u202fextraordinary theatrical\u202f\u00bb novel. This study renders unto Gary the essential part he played in Kalisky\u2019s intellectual development.<\/p>\nAgnese Silvestri<\/strong>, \u02baOverplaying\u201d with fire: Le Pique-nique de Claretta<\/em> and the staging of Vitez
\n<\/i>This article focuses on the encounter between Ren\u00e9 Kalisky and Antoine Vitez, with specific emphasis on the production of Le Pique-nique de Claretta in 1974. It also examines the reasons of their mutual discovery based on an interest in going beyond the precepts of Brechtian theatre and their common search for a renewal of dramatic forms. Thanks to a large variety of documents (correspondence, unpublished drafts, working papers, newspapers reviews), this work analyses from a dramaturgic point of view the differences between Kalisky\u2019s text and the production of the play. Vitez\u2019s mise-en-sc\u00e8ne of Le Pique-nique reveals the Belgian author\u2019s position to evince a wider degree of freedom from contemporary ideological and cultural schemata than might be indicated in the written text. Kalisky aims at a new theatrical model that avoids simplistic, clear-cut structures, and boldly conceives of his theatrical model as a weapon against new forms of Fascism.<\/p>\n<\/div>
Kalisky l\u2019intempestif ?\u00a0<\/strong><\/em>Relectures contemporaines d\u2019une \u0153uvre du XXe<\/sup>\u00a0si\u00e8cle<\/strong><\/em><\/h1>\nsous la direction de<\/strong><\/h3>\nAur\u00e9lia Kalisky et Agnese Silvestri<\/strong><\/h3>\n<\/a><\/p>\nLire ce num\u00e9ro sur JSTOR<\/a>
\nLeggere questo numero su JSTOR<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Sommaire \/\u00a0<\/span>Indice<\/span><\/h2>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Aur\u00e9lia Kalisky<\/strong>, Agnese Silvestri<\/strong>, Relire Kalisky, une \u0153uvre opportune<\/p>\nJacques De Decker<\/strong>, Kalisky, plus que jamais pr\u00e9sent<\/p>\n<\/div>Articles<\/h4><\/a><\/li>
R\u00e9sum\u00e9s<\/h4><\/a><\/li>
Abstracts<\/h4><\/a><\/li>
Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>Articles<\/h4><\/a><\/li><\/ul><\/div>\nMarc Quaghebeur<\/strong>, Une autopsie qui va plus loin que celle du cadavre de Charles le T\u00e9m\u00e9raire<\/p>\nElena Quaglia<\/strong>, L’\u00e9criture post-g\u00e9nocidiaire entre Jim le T\u00e9m\u00e9raire<\/em> et Falsch<\/em>. Un infl\u00e9chissement du paradoxe \u00e0 la pr\u00e9t\u00e9rition<\/p>\nAur\u00e9lia Kalisky<\/strong>, Un discours de mutant comme une escadrille de F16. L’\u00e9criture romanesque de Kalisky dans L’Impossible Royaume<\/em><\/p>\nDavid Willinger<\/strong>, Confirmation of a Belgian National Repertoire Issuing from Maeterlinck in the Dramaturgy of Kalisky’s Dave au bord de mer<\/em><\/p>\nAnnamaria Laserra<\/strong>, De Romain Gary \u00e0 Ren\u00e9 Kalisky, les deux Europa<\/em> de 1972<\/p>\nAgnese Silvestri<\/strong>, \u00ab Surjouer\u00a0\u00bb avec le feu: Le Pique-nique de Claretta<\/em> et la mise en sc\u00e8ne de Vitez<\/p>\n<\/div>R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div>\nMarc Quaghebeur<\/strong>,\u00a0Une autopsie qui va plus loin que celle du cadavre de Charles le T\u00e9m\u00e9raire
\nSc\u00e9nario fait de d\u00e9multiplications jouant notamment du flash-back, le Charles le T\u00e9m\u00e9raire<\/i> de Ren\u00e9 Kalisky ne fut jamais cr\u00e9\u00e9 mais \u00e9dit\u00e9 \u00e0 titre posthume dans sa version princeps. Les t\u00e9l\u00e9visions commanditaires non seulement contraignirent l\u2019auteur \u00e0 r\u00e9\u00e9crire son texte dans un sens lin\u00e9aire, mais ne le port\u00e8rent pas \u00e0 l\u2019\u00e9cran. Ce chef-d\u2019\u0153uvre est plus que l\u2019exceptionnelle restitution sc\u00e9nique et visuelle d\u2019un parcours historique et d\u2019une personnalit\u00e9 marquante de la fin du XVe<\/sup>\u202fsi\u00e8cle. L\u2019autopsie du cadavre au visage m\u00e9connaissable d\u00e9passe en effet celle de l\u2019identification de la d\u00e9pouille d\u00e9couverte dans la glace aux abords de Nancy. Elle renvoie \u00e0 l\u2019Histoire profonde de la Belgique et des pays d\u2019entre-deux dont Celle-ci est l\u2019embl\u00e8me\u202f; et, \u00e0 travers Elle, aux identit\u00e9s complexes qu\u2019a toujours d\u00e9fendues Ren\u00e9 Kalisky. Plaidoyer majeur du dramaturge et essayiste contre la d\u00e9shistoire, ce texte se focalise fonci\u00e8rement sur les visages. Il est au minimum \u00e0 triple entente. Kalisky a invent\u00e9 la Forme, baroque et visuelle, de cette Histoire, Forme qui met \u00e0 mal bien des clich\u00e9s.<\/p>\nElena Quaglia<\/strong>,\u00a0L’\u00e9criture post-g\u00e9nocidiaire entre Jim le T\u00e9m\u00e9raire<\/em>\u00a0<\/i>et\u00a0<\/i>Falsch. <\/em>Un infl\u00e9chissement du paradoxe \u00e0 la pr\u00e9t\u00e9rition
\n<\/em>Cet article essaie de montrer comment, dans l\u2019\u0153uvre de Ren\u00e9 Kalisky, le traumatisme engendr\u00e9 par la d\u00e9portation du p\u00e8re cr\u00e9e les fondements d\u2019une \u00e9criture o\u00f9 le questionnement de l\u2019identit\u00e9 juive ne peut que frayer avec la conscience de la mort. Ainsi, dans Jim le T\u00e9m\u00e9raire<\/i>, o\u00f9 le Juif semble avoir besoin du bourreau pour se d\u00e9finir, Kalisky emploie une \u00e9criture paradoxale, r\u00e9gie par la \u00ab hantologie \u00bb et par la \u00ab hontologie \u00bb. Dans Falsch<\/i>, le dramaturge r\u00e9ussit \u00e0 faire le deuil du pass\u00e9, \u00e0 travers une \u00e9criture de la pr\u00e9t\u00e9rition, que l\u2019on retrouve chez de nombreux auteurs de sa g\u00e9n\u00e9ration : tout en niant la possibilit\u00e9 d\u2019une repr\u00e9sentation artistique de l\u2019horreur, le texte laisse cependant entrevoir l\u2019opportunit\u00e9, pour le survivant, de comprendre les souffrances des disparus et d\u2019assumer sa jud\u00e9it\u00e9 d\u00e9ficitaire.<\/p>\nAur\u00e9lia Kalisky<\/strong>,\u00a0Un discours de mutant comme une escadrille de F16. L’\u00e9criture romanesque de Kalisky dans\u00a0L’Impossible Royaume
\n<\/em>Dans cet article, Aur\u00e9lia Kalisky se penche sur l\u2019unique roman de Ren\u00e9 Kalisky, L\u2019Impossible Royaume<\/i>. Centr\u00e9 sur les th\u00e8mes du sionisme et l\u2019identit\u00e9 juive en relation avec l\u2019histoire de l\u2019\u00c9tat d\u2019Isra\u00ebl, ce r\u00e9cit de fiction \u00e9crit \u00e0 la premi\u00e8re personne relate le parcours d\u00e9senchant\u00e9 d\u2019un sc\u00e9nariste juif parisien confront\u00e9 aux limites de la cr\u00e9ation artistique et de l\u2019engagement politique face \u00e0 ce qu\u2019il per\u00e7oit comme la d\u00e9rive nationaliste de l\u2019\u00c9tat h\u00e9breu \u00e0 la fin des ann\u00e9es 1970. Aur\u00e9lia Kalisky en analyse la po\u00e9tique en s\u2019int\u00e9ressant notamment \u00e0 la nature transg\u00e9n\u00e9rique d\u2019un \u00ab\u202froman-essai\u202f\u00bb tenant \u00e0 la fois du pamphlet et du roman proph\u00e9tique, empruntant simultan\u00e9ment ses codes au roman d\u2019initiation ou au r\u00e9cit de voyage satirique. Elle met en \u00e9vidence la dimension r\u00e9flexive d\u2019un r\u00e9cit retra\u00e7ant l\u2019\u00e9chec d\u2019une utopie en acte\u202f: celle d\u2019un art capable d\u2019inverser le cours mortif\u00e8re d\u2019une histoire marqu\u00e9e par la r\u00e9p\u00e9tition catastrophique.<\/p>\nDavid Willinger<\/strong>,\u00a0Confirmation of a Belgian National Repertoire Issuing from Maeterlinck in the Dramaturgy of Kalisky’s\u00a0Dave au bord de mer
\n<\/em>Le but de cet essai est de mettre en \u00e9vidence les liens de filiation, peu \u00e9vidents \u00e0 premi\u00e8re vue, existant entre son \u0153uvre et celle de Maurice Maeterlinck. C\u2019est surtout dans ses deux pi\u00e8ces consacr\u00e9s \u00e0 des th\u00e8mes li\u00e9s \u00e0 son identit\u00e9 juive, Jim le t\u00e9m\u00e9raire et Dave au bord de mer<\/em>, que les affinit\u00e9s entre les \u0153uvres se manifestent le plus clairement. Maeterlinck comme Kalisky ignoraient les exigences de la mise en sc\u00e8ne, mais c\u2019est aussi sur plusieurs autres aspects que les dramaturgies des deux auteurs belges peuvent \u00eatre rapproch\u00e9es : l\u2019emploi de la stasis et le refus d\u2019une action dramatique normative caract\u00e9ristique de la pi\u00e8ce bien faite ; le recours aux m\u00e9ta-narratifs tir\u00e9s de contes de f\u00e9es dans le cas de Maeterlinck et du Livre de Samuel chez Kalisky ; l\u2019emphase sur la musicalit\u00e9 du langage et l\u2019usage des r\u00e9p\u00e9titions ; l\u2019emploi, enfin, de personnages arch\u00e9typiques qui ont en m\u00eame temps conscience de leur qualit\u00e9 de personnages de th\u00e9\u00e2tre.<\/p>\nAnnamaria Laserra<\/strong>, De Romain Gary \u00e0 Ren\u00e9 Kalisky, les deux\u00a0<\/i>Europa<\/em>\u00a0<\/i>de 1972
\nCet essai tente d\u2019\u00e9valuer l\u2019impact d\u2019Europa<\/i>, roman de Romain Gary, sur Ren\u00e9 Kalisky, en le mettant en relation avec un souci de renouvellement esth\u00e9tique commun aux deux \u00e9crivains, et s\u2019exprimant chez l\u2019un dans le roman, chez l\u2019autre dans le th\u00e9\u00e2tre. Trouvant Europa<\/i> \u00ab\u202fextraordinairement th\u00e9\u00e2tral\u202f\u00bb, Kalisky en donna une adaptation sc\u00e9nique. N\u00e9anmoins, par la suite, il reconnut davantage l\u2019influence d\u2019Antoine Vitez et eut l\u2019impression que l\u2019essentiel de l\u2019apport garyen \u00e0 sa d\u00e9marche s\u2019\u00e9tait limit\u00e9 \u00e0 la seule conception de l\u2019espace et du temps. En r\u00e9alit\u00e9, cet apport est all\u00e9 bien plus loin. \u00c0 l\u2019analyse, on constate chez Gary un renouvellement de l\u2019art romanesque comparable \u00e0 celui que Vitez a op\u00e9r\u00e9 dans le th\u00e9\u00e2tre. Ses id\u00e9es ont constitu\u00e9 le noyau essentiel de ce que Kalisky consid\u00e9ra plu tard avoir trouv\u00e9 chez Vitez. Cette \u00e9tude tente de faire la part des choses en rendant \u00e0 Gary ce qui lui appartient au sein du processus de maturation cr\u00e9atrice de Kalisky.<\/p>\nAgnese Silvestri<\/strong>, \u00abSurjouer\u00bb\u00a0avec le feu:\u00a0<\/i>Le Pique-nique de Claretta<\/em>\u00a0et la mise en sc\u00e8ne de Vitez
\nCet article revient sur la rencontre entre Ren\u00e9 Kalisky et Antoine Vitez et sur la mise en sc\u00e8ne, en 1974, du Pique-nique de Claretta<\/i>. Il pr\u00e9cise les raisons d\u2019une d\u00e9couverte r\u00e9ciproque dans l\u2019exigence, \u00e9galement ressentie par l\u2019un et l\u2019autre artiste, d\u2019un renouvellement des formes dramatiques, ainsi que d\u2019un d\u00e9passement des limites du brechtisme. En s\u2019appuyant sur des sources vari\u00e9es et encore inexploit\u00e9es (la correspondance entre les deux artistes, leurs brouillons in\u00e9dits, leurs notes de travail, les nombreux comptes rendus de la pi\u00e8ce), il analyse les diff\u00e9rences qui se dessinent entre la dramaturgie du texte et celle de la mise en sc\u00e8ne. L\u2019aspiration kaliskienne \u00e0 un th\u00e9\u00e2tre qui assume des risques pour se lib\u00e9rer d\u2019un manich\u00e9isme r\u00e9ducteur et inefficace \u00e0 lutter contre les nouvelles formes de fascisme, r\u00e9v\u00e8le une audace qui, en cette occasion, par rapport aux sch\u00e9mas culturels de l\u2019\u00e9poque, appara\u00eet plus libre que celle d\u2019Antoine Vitez.<\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>\nMarc Quaghebeur<\/strong>, An autopsy that goes further than that of the corpse of Charles the Bold
\nAssembling shattered pieces of history, moving backward and forward through time and space, Ren\u00e9 Kalisky\u2019s Charles le T\u00e9m\u00e9raire initially took the form of a commissioned tv script, which was never shot but posthumously published in its earliest version. in fact, the co-producing broadcasters demanded that the author rewrite it as a linear script, but in the end decided against shooting it anyway. this masterpiece is much more than an exceptional reconstitution of an outstanding 15th century historical episode or figure. the autopsy done on a faceless corpse leads not only to the identification of physical remains discovered in the icy vicinity of Nancy : it also opens up an in-depth analysis of Belgium history, as well as any such \u00ab in-between country \u00bb, and stages complex identities, which was Kalisky\u2019s main concern. By focusing principally on the topic of faces and figures, and so bringing at least three divergent meanings to the fore, this work can be regarded as a plea against the temptation to unravel history. Kalisky literally invented a baroque and visual form that cleanses history of all the clich\u00e9s and stereotypes that generally accrue to it.<\/p>\nElena Quaglia<\/strong>, The post-genocidiary writing between Jim le T\u00e9m\u00e9raire <\/em>and Falsch. <\/em>A mutation from the paradoxe to the preterition
\nThis article attempts to show how, in the works of Ren\u00e9 Kalisky, the original trauma of his father\u2019s deportation creates a form of writing in which Jewishness is necessarily associated with the awareness of death. In Jim le T\u00e9m\u00e9raire<\/em>, the Jew seems to have need of his executioner in order to define himself : Kalisky adopts a form of paradoxical writing about Jewishness, governed by \u00ab hauntology \u00bb and \u00ab hontology \u00bb. In Falsch<\/em>, the playwright manages to mourn for the past, through preterition, a form of writing typical of his generation. While the text denies the potential for artistic representation of the horror-inducing events, it suggests nonetheless that the survivor ultimately be given the opportunity to understand the suffering of all that has been lost and to accept his own inadequate Jewishness.<\/p>\nAur\u00e9lia Kalisky<\/strong>, A mutant discourse like an F16 squadron. Kalisky\u2019s novel writing in L\u2019Impossible Royaume<\/em>
\n<\/em>In her article, Aur\u00e9lia Kalisky focuses on Ren\u00e9 Kalisky\u2019s one and only novel, L\u2019Impossible Royaume. Emphasizing themes of Zionism and Jewish identity in relation to the story of the state of Israel, this first-person fictional narrative relates the disillusioned trajectory of a Jewish filmscript writer living in Paris who is forced to realize the limits to artistic creation and political engagement when confronted with the dominant nationalist thrust behind the Hebrew state toward the end of the 1970s. Aur\u00e9lia Kalisky focuses on the trans-generic nature of a \u00ab\u202fnovel-essay\u202f\u00bb, with its opposing pulls between political pamphlet and prophetic novel, that simultaneously employs codes native to the novel of initiation as well as the satirical travel book. She exposes the reflexive dimension of a narrative that takes us through the failure of a Utopia in the making\u202f: that of an art capable of overturning the fatal course of a history marked by catastrophic repetitions.<\/p>\nDavid Willinger<\/strong>,\u00a0Confirmation of a Belgian National Repertoire Issuing from Maeterlinck in the Dramaturgy of Kalisky’s\u00a0Dave au bord de mer<\/em>
\nThis essay traces some tantalizing connections between the first major Belgian playwright, Maurice Maeterlinck, and his seemingly unlikely theatrical descendant, Ren\u00e9 Kalisky. Particularly in his two masterpieces on Jewish themes, Jim le t\u00e9m\u00e9raire and Dave au bord de mer, we can see the \u00ab\u202ffamily resemblance\u202f\u00bb most clearly. Though ignorant of theatre practice, the two Belgians\u2019 dramaturgies reflect each other\u202f: the use of stasis and backgrounding normal dramatic action\u202f; in resorting to meta-narratives, in Maeterlinck\u2019s case, through fairy tales of the Brother Grimm and others and in Kalisky\u2019s the Old Testament Book of Samuel\u202f; the emphasis on musicality of language and such techniques as repetition over the mechanism of the Well-Made Play\u202f; the use both of archetypical characters and characters who manifest a consciousness of their own theatricality, all accumulate to form a picture of national theatrical identity in this pairing.<\/p>\nAnnamaria Laserra<\/strong>, From Romain Gary to Ren\u00e9 Kalisky, the two Europa <\/em>of 1972
\n<\/i>This study endeavors to sort through the reasons for the great impact that Romain Gary\u2019s novel, Europa, had on playwright Kalisky, who adapted it for the stage the very year of its publication. Both writers had in common a desire to renew their respective arts. However, while at an earlier point in his career, the younger Kalisksy recognized Gary\u2019s influence on him, he instead later avowed the influence of another master playwright, Antoine Vitez, on his approach to theater. Nonetheless a close reading of the epistolary exchanges between Kaliksy and Vitez and others writers clearly shows that Gary\u2019s impact on Kaliksy indeed preceded the ideas he purported to have found in Vitez. In fact, one may see some similarity between Gary\u2019s renewal of the art of narrative and that Vitez brought to theater. Kaliksy indeed had once qualified Europa as an \u00ab\u202fextraordinary theatrical\u202f\u00bb novel. This study renders unto Gary the essential part he played in Kalisky\u2019s intellectual development.<\/p>\nAgnese Silvestri<\/strong>, \u02baOverplaying\u201d with fire: Le Pique-nique de Claretta<\/em> and the staging of Vitez
\n<\/i>This article focuses on the encounter between Ren\u00e9 Kalisky and Antoine Vitez, with specific emphasis on the production of Le Pique-nique de Claretta in 1974. It also examines the reasons of their mutual discovery based on an interest in going beyond the precepts of Brechtian theatre and their common search for a renewal of dramatic forms. Thanks to a large variety of documents (correspondence, unpublished drafts, working papers, newspapers reviews), this work analyses from a dramaturgic point of view the differences between Kalisky\u2019s text and the production of the play. Vitez\u2019s mise-en-sc\u00e8ne of Le Pique-nique reveals the Belgian author\u2019s position to evince a wider degree of freedom from contemporary ideological and cultural schemata than might be indicated in the written text. Kalisky aims at a new theatrical model that avoids simplistic, clear-cut structures, and boldly conceives of his theatrical model as a weapon against new forms of Fascism.<\/p>\n<\/div>
Aur\u00e9lia Kalisky et Agnese Silvestri<\/strong><\/h3>\n<\/a><\/p>\nLire ce num\u00e9ro sur JSTOR<\/a>
\nLeggere questo numero su JSTOR<\/a><\/p>\n<\/div><\/div><\/div><\/div><\/div><\/div>Sommaire \/\u00a0<\/span>Indice<\/span><\/h2>\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>Aur\u00e9lia Kalisky<\/strong>, Agnese Silvestri<\/strong>, Relire Kalisky, une \u0153uvre opportune<\/p>\nJacques De Decker<\/strong>, Kalisky, plus que jamais pr\u00e9sent<\/p>\n<\/div>Articles<\/h4><\/a><\/li>
R\u00e9sum\u00e9s<\/h4><\/a><\/li>
Abstracts<\/h4><\/a><\/li>
Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>Articles<\/h4><\/a><\/li><\/ul><\/div>\nMarc Quaghebeur<\/strong>, Une autopsie qui va plus loin que celle du cadavre de Charles le T\u00e9m\u00e9raire<\/p>\nElena Quaglia<\/strong>, L’\u00e9criture post-g\u00e9nocidiaire entre Jim le T\u00e9m\u00e9raire<\/em> et Falsch<\/em>. Un infl\u00e9chissement du paradoxe \u00e0 la pr\u00e9t\u00e9rition<\/p>\nAur\u00e9lia Kalisky<\/strong>, Un discours de mutant comme une escadrille de F16. L’\u00e9criture romanesque de Kalisky dans L’Impossible Royaume<\/em><\/p>\nDavid Willinger<\/strong>, Confirmation of a Belgian National Repertoire Issuing from Maeterlinck in the Dramaturgy of Kalisky’s Dave au bord de mer<\/em><\/p>\nAnnamaria Laserra<\/strong>, De Romain Gary \u00e0 Ren\u00e9 Kalisky, les deux Europa<\/em> de 1972<\/p>\nAgnese Silvestri<\/strong>, \u00ab Surjouer\u00a0\u00bb avec le feu: Le Pique-nique de Claretta<\/em> et la mise en sc\u00e8ne de Vitez<\/p>\n<\/div>R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div>\nMarc Quaghebeur<\/strong>,\u00a0Une autopsie qui va plus loin que celle du cadavre de Charles le T\u00e9m\u00e9raire
\nSc\u00e9nario fait de d\u00e9multiplications jouant notamment du flash-back, le Charles le T\u00e9m\u00e9raire<\/i> de Ren\u00e9 Kalisky ne fut jamais cr\u00e9\u00e9 mais \u00e9dit\u00e9 \u00e0 titre posthume dans sa version princeps. Les t\u00e9l\u00e9visions commanditaires non seulement contraignirent l\u2019auteur \u00e0 r\u00e9\u00e9crire son texte dans un sens lin\u00e9aire, mais ne le port\u00e8rent pas \u00e0 l\u2019\u00e9cran. Ce chef-d\u2019\u0153uvre est plus que l\u2019exceptionnelle restitution sc\u00e9nique et visuelle d\u2019un parcours historique et d\u2019une personnalit\u00e9 marquante de la fin du XVe<\/sup>\u202fsi\u00e8cle. L\u2019autopsie du cadavre au visage m\u00e9connaissable d\u00e9passe en effet celle de l\u2019identification de la d\u00e9pouille d\u00e9couverte dans la glace aux abords de Nancy. Elle renvoie \u00e0 l\u2019Histoire profonde de la Belgique et des pays d\u2019entre-deux dont Celle-ci est l\u2019embl\u00e8me\u202f; et, \u00e0 travers Elle, aux identit\u00e9s complexes qu\u2019a toujours d\u00e9fendues Ren\u00e9 Kalisky. Plaidoyer majeur du dramaturge et essayiste contre la d\u00e9shistoire, ce texte se focalise fonci\u00e8rement sur les visages. Il est au minimum \u00e0 triple entente. Kalisky a invent\u00e9 la Forme, baroque et visuelle, de cette Histoire, Forme qui met \u00e0 mal bien des clich\u00e9s.<\/p>\nElena Quaglia<\/strong>,\u00a0L’\u00e9criture post-g\u00e9nocidiaire entre Jim le T\u00e9m\u00e9raire<\/em>\u00a0<\/i>et\u00a0<\/i>Falsch. <\/em>Un infl\u00e9chissement du paradoxe \u00e0 la pr\u00e9t\u00e9rition
\n<\/em>Cet article essaie de montrer comment, dans l\u2019\u0153uvre de Ren\u00e9 Kalisky, le traumatisme engendr\u00e9 par la d\u00e9portation du p\u00e8re cr\u00e9e les fondements d\u2019une \u00e9criture o\u00f9 le questionnement de l\u2019identit\u00e9 juive ne peut que frayer avec la conscience de la mort. Ainsi, dans Jim le T\u00e9m\u00e9raire<\/i>, o\u00f9 le Juif semble avoir besoin du bourreau pour se d\u00e9finir, Kalisky emploie une \u00e9criture paradoxale, r\u00e9gie par la \u00ab hantologie \u00bb et par la \u00ab hontologie \u00bb. Dans Falsch<\/i>, le dramaturge r\u00e9ussit \u00e0 faire le deuil du pass\u00e9, \u00e0 travers une \u00e9criture de la pr\u00e9t\u00e9rition, que l\u2019on retrouve chez de nombreux auteurs de sa g\u00e9n\u00e9ration : tout en niant la possibilit\u00e9 d\u2019une repr\u00e9sentation artistique de l\u2019horreur, le texte laisse cependant entrevoir l\u2019opportunit\u00e9, pour le survivant, de comprendre les souffrances des disparus et d\u2019assumer sa jud\u00e9it\u00e9 d\u00e9ficitaire.<\/p>\nAur\u00e9lia Kalisky<\/strong>,\u00a0Un discours de mutant comme une escadrille de F16. L’\u00e9criture romanesque de Kalisky dans\u00a0L’Impossible Royaume
\n<\/em>Dans cet article, Aur\u00e9lia Kalisky se penche sur l\u2019unique roman de Ren\u00e9 Kalisky, L\u2019Impossible Royaume<\/i>. Centr\u00e9 sur les th\u00e8mes du sionisme et l\u2019identit\u00e9 juive en relation avec l\u2019histoire de l\u2019\u00c9tat d\u2019Isra\u00ebl, ce r\u00e9cit de fiction \u00e9crit \u00e0 la premi\u00e8re personne relate le parcours d\u00e9senchant\u00e9 d\u2019un sc\u00e9nariste juif parisien confront\u00e9 aux limites de la cr\u00e9ation artistique et de l\u2019engagement politique face \u00e0 ce qu\u2019il per\u00e7oit comme la d\u00e9rive nationaliste de l\u2019\u00c9tat h\u00e9breu \u00e0 la fin des ann\u00e9es 1970. Aur\u00e9lia Kalisky en analyse la po\u00e9tique en s\u2019int\u00e9ressant notamment \u00e0 la nature transg\u00e9n\u00e9rique d\u2019un \u00ab\u202froman-essai\u202f\u00bb tenant \u00e0 la fois du pamphlet et du roman proph\u00e9tique, empruntant simultan\u00e9ment ses codes au roman d\u2019initiation ou au r\u00e9cit de voyage satirique. Elle met en \u00e9vidence la dimension r\u00e9flexive d\u2019un r\u00e9cit retra\u00e7ant l\u2019\u00e9chec d\u2019une utopie en acte\u202f: celle d\u2019un art capable d\u2019inverser le cours mortif\u00e8re d\u2019une histoire marqu\u00e9e par la r\u00e9p\u00e9tition catastrophique.<\/p>\nDavid Willinger<\/strong>,\u00a0Confirmation of a Belgian National Repertoire Issuing from Maeterlinck in the Dramaturgy of Kalisky’s\u00a0Dave au bord de mer
\n<\/em>Le but de cet essai est de mettre en \u00e9vidence les liens de filiation, peu \u00e9vidents \u00e0 premi\u00e8re vue, existant entre son \u0153uvre et celle de Maurice Maeterlinck. C\u2019est surtout dans ses deux pi\u00e8ces consacr\u00e9s \u00e0 des th\u00e8mes li\u00e9s \u00e0 son identit\u00e9 juive, Jim le t\u00e9m\u00e9raire et Dave au bord de mer<\/em>, que les affinit\u00e9s entre les \u0153uvres se manifestent le plus clairement. Maeterlinck comme Kalisky ignoraient les exigences de la mise en sc\u00e8ne, mais c\u2019est aussi sur plusieurs autres aspects que les dramaturgies des deux auteurs belges peuvent \u00eatre rapproch\u00e9es : l\u2019emploi de la stasis et le refus d\u2019une action dramatique normative caract\u00e9ristique de la pi\u00e8ce bien faite ; le recours aux m\u00e9ta-narratifs tir\u00e9s de contes de f\u00e9es dans le cas de Maeterlinck et du Livre de Samuel chez Kalisky ; l\u2019emphase sur la musicalit\u00e9 du langage et l\u2019usage des r\u00e9p\u00e9titions ; l\u2019emploi, enfin, de personnages arch\u00e9typiques qui ont en m\u00eame temps conscience de leur qualit\u00e9 de personnages de th\u00e9\u00e2tre.<\/p>\nAnnamaria Laserra<\/strong>, De Romain Gary \u00e0 Ren\u00e9 Kalisky, les deux\u00a0<\/i>Europa<\/em>\u00a0<\/i>de 1972
\nCet essai tente d\u2019\u00e9valuer l\u2019impact d\u2019Europa<\/i>, roman de Romain Gary, sur Ren\u00e9 Kalisky, en le mettant en relation avec un souci de renouvellement esth\u00e9tique commun aux deux \u00e9crivains, et s\u2019exprimant chez l\u2019un dans le roman, chez l\u2019autre dans le th\u00e9\u00e2tre. Trouvant Europa<\/i> \u00ab\u202fextraordinairement th\u00e9\u00e2tral\u202f\u00bb, Kalisky en donna une adaptation sc\u00e9nique. N\u00e9anmoins, par la suite, il reconnut davantage l\u2019influence d\u2019Antoine Vitez et eut l\u2019impression que l\u2019essentiel de l\u2019apport garyen \u00e0 sa d\u00e9marche s\u2019\u00e9tait limit\u00e9 \u00e0 la seule conception de l\u2019espace et du temps. En r\u00e9alit\u00e9, cet apport est all\u00e9 bien plus loin. \u00c0 l\u2019analyse, on constate chez Gary un renouvellement de l\u2019art romanesque comparable \u00e0 celui que Vitez a op\u00e9r\u00e9 dans le th\u00e9\u00e2tre. Ses id\u00e9es ont constitu\u00e9 le noyau essentiel de ce que Kalisky consid\u00e9ra plu tard avoir trouv\u00e9 chez Vitez. Cette \u00e9tude tente de faire la part des choses en rendant \u00e0 Gary ce qui lui appartient au sein du processus de maturation cr\u00e9atrice de Kalisky.<\/p>\nAgnese Silvestri<\/strong>, \u00abSurjouer\u00bb\u00a0avec le feu:\u00a0<\/i>Le Pique-nique de Claretta<\/em>\u00a0et la mise en sc\u00e8ne de Vitez
\nCet article revient sur la rencontre entre Ren\u00e9 Kalisky et Antoine Vitez et sur la mise en sc\u00e8ne, en 1974, du Pique-nique de Claretta<\/i>. Il pr\u00e9cise les raisons d\u2019une d\u00e9couverte r\u00e9ciproque dans l\u2019exigence, \u00e9galement ressentie par l\u2019un et l\u2019autre artiste, d\u2019un renouvellement des formes dramatiques, ainsi que d\u2019un d\u00e9passement des limites du brechtisme. En s\u2019appuyant sur des sources vari\u00e9es et encore inexploit\u00e9es (la correspondance entre les deux artistes, leurs brouillons in\u00e9dits, leurs notes de travail, les nombreux comptes rendus de la pi\u00e8ce), il analyse les diff\u00e9rences qui se dessinent entre la dramaturgie du texte et celle de la mise en sc\u00e8ne. L\u2019aspiration kaliskienne \u00e0 un th\u00e9\u00e2tre qui assume des risques pour se lib\u00e9rer d\u2019un manich\u00e9isme r\u00e9ducteur et inefficace \u00e0 lutter contre les nouvelles formes de fascisme, r\u00e9v\u00e8le une audace qui, en cette occasion, par rapport aux sch\u00e9mas culturels de l\u2019\u00e9poque, appara\u00eet plus libre que celle d\u2019Antoine Vitez.<\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>\nMarc Quaghebeur<\/strong>, An autopsy that goes further than that of the corpse of Charles the Bold
\nAssembling shattered pieces of history, moving backward and forward through time and space, Ren\u00e9 Kalisky\u2019s Charles le T\u00e9m\u00e9raire initially took the form of a commissioned tv script, which was never shot but posthumously published in its earliest version. in fact, the co-producing broadcasters demanded that the author rewrite it as a linear script, but in the end decided against shooting it anyway. this masterpiece is much more than an exceptional reconstitution of an outstanding 15th century historical episode or figure. the autopsy done on a faceless corpse leads not only to the identification of physical remains discovered in the icy vicinity of Nancy : it also opens up an in-depth analysis of Belgium history, as well as any such \u00ab in-between country \u00bb, and stages complex identities, which was Kalisky\u2019s main concern. By focusing principally on the topic of faces and figures, and so bringing at least three divergent meanings to the fore, this work can be regarded as a plea against the temptation to unravel history. Kalisky literally invented a baroque and visual form that cleanses history of all the clich\u00e9s and stereotypes that generally accrue to it.<\/p>\nElena Quaglia<\/strong>, The post-genocidiary writing between Jim le T\u00e9m\u00e9raire <\/em>and Falsch. <\/em>A mutation from the paradoxe to the preterition
\nThis article attempts to show how, in the works of Ren\u00e9 Kalisky, the original trauma of his father\u2019s deportation creates a form of writing in which Jewishness is necessarily associated with the awareness of death. In Jim le T\u00e9m\u00e9raire<\/em>, the Jew seems to have need of his executioner in order to define himself : Kalisky adopts a form of paradoxical writing about Jewishness, governed by \u00ab hauntology \u00bb and \u00ab hontology \u00bb. In Falsch<\/em>, the playwright manages to mourn for the past, through preterition, a form of writing typical of his generation. While the text denies the potential for artistic representation of the horror-inducing events, it suggests nonetheless that the survivor ultimately be given the opportunity to understand the suffering of all that has been lost and to accept his own inadequate Jewishness.<\/p>\nAur\u00e9lia Kalisky<\/strong>, A mutant discourse like an F16 squadron. Kalisky\u2019s novel writing in L\u2019Impossible Royaume<\/em>
\n<\/em>In her article, Aur\u00e9lia Kalisky focuses on Ren\u00e9 Kalisky\u2019s one and only novel, L\u2019Impossible Royaume. Emphasizing themes of Zionism and Jewish identity in relation to the story of the state of Israel, this first-person fictional narrative relates the disillusioned trajectory of a Jewish filmscript writer living in Paris who is forced to realize the limits to artistic creation and political engagement when confronted with the dominant nationalist thrust behind the Hebrew state toward the end of the 1970s. Aur\u00e9lia Kalisky focuses on the trans-generic nature of a \u00ab\u202fnovel-essay\u202f\u00bb, with its opposing pulls between political pamphlet and prophetic novel, that simultaneously employs codes native to the novel of initiation as well as the satirical travel book. She exposes the reflexive dimension of a narrative that takes us through the failure of a Utopia in the making\u202f: that of an art capable of overturning the fatal course of a history marked by catastrophic repetitions.<\/p>\nDavid Willinger<\/strong>,\u00a0Confirmation of a Belgian National Repertoire Issuing from Maeterlinck in the Dramaturgy of Kalisky’s\u00a0Dave au bord de mer<\/em>
\nThis essay traces some tantalizing connections between the first major Belgian playwright, Maurice Maeterlinck, and his seemingly unlikely theatrical descendant, Ren\u00e9 Kalisky. Particularly in his two masterpieces on Jewish themes, Jim le t\u00e9m\u00e9raire and Dave au bord de mer, we can see the \u00ab\u202ffamily resemblance\u202f\u00bb most clearly. Though ignorant of theatre practice, the two Belgians\u2019 dramaturgies reflect each other\u202f: the use of stasis and backgrounding normal dramatic action\u202f; in resorting to meta-narratives, in Maeterlinck\u2019s case, through fairy tales of the Brother Grimm and others and in Kalisky\u2019s the Old Testament Book of Samuel\u202f; the emphasis on musicality of language and such techniques as repetition over the mechanism of the Well-Made Play\u202f; the use both of archetypical characters and characters who manifest a consciousness of their own theatricality, all accumulate to form a picture of national theatrical identity in this pairing.<\/p>\nAnnamaria Laserra<\/strong>, From Romain Gary to Ren\u00e9 Kalisky, the two Europa <\/em>of 1972
\n<\/i>This study endeavors to sort through the reasons for the great impact that Romain Gary\u2019s novel, Europa, had on playwright Kalisky, who adapted it for the stage the very year of its publication. Both writers had in common a desire to renew their respective arts. However, while at an earlier point in his career, the younger Kalisksy recognized Gary\u2019s influence on him, he instead later avowed the influence of another master playwright, Antoine Vitez, on his approach to theater. Nonetheless a close reading of the epistolary exchanges between Kaliksy and Vitez and others writers clearly shows that Gary\u2019s impact on Kaliksy indeed preceded the ideas he purported to have found in Vitez. In fact, one may see some similarity between Gary\u2019s renewal of the art of narrative and that Vitez brought to theater. Kaliksy indeed had once qualified Europa as an \u00ab\u202fextraordinary theatrical\u202f\u00bb novel. This study renders unto Gary the essential part he played in Kalisky\u2019s intellectual development.<\/p>\nAgnese Silvestri<\/strong>, \u02baOverplaying\u201d with fire: Le Pique-nique de Claretta<\/em> and the staging of Vitez
\n<\/i>This article focuses on the encounter between Ren\u00e9 Kalisky and Antoine Vitez, with specific emphasis on the production of Le Pique-nique de Claretta in 1974. It also examines the reasons of their mutual discovery based on an interest in going beyond the precepts of Brechtian theatre and their common search for a renewal of dramatic forms. Thanks to a large variety of documents (correspondence, unpublished drafts, working papers, newspapers reviews), this work analyses from a dramaturgic point of view the differences between Kalisky\u2019s text and the production of the play. Vitez\u2019s mise-en-sc\u00e8ne of Le Pique-nique reveals the Belgian author\u2019s position to evince a wider degree of freedom from contemporary ideological and cultural schemata than might be indicated in the written text. Kalisky aims at a new theatrical model that avoids simplistic, clear-cut structures, and boldly conceives of his theatrical model as a weapon against new forms of Fascism.<\/p>\n<\/div>
<\/a><\/p>\nLire ce num\u00e9ro sur JSTOR<\/a> Aur\u00e9lia Kalisky<\/strong>, Agnese Silvestri<\/strong>, Relire Kalisky, une \u0153uvre opportune<\/p>\n Jacques De Decker<\/strong>, Kalisky, plus que jamais pr\u00e9sent<\/p>\n<\/div> Marc Quaghebeur<\/strong>, Une autopsie qui va plus loin que celle du cadavre de Charles le T\u00e9m\u00e9raire<\/p>\n Elena Quaglia<\/strong>, L’\u00e9criture post-g\u00e9nocidiaire entre Jim le T\u00e9m\u00e9raire<\/em> et Falsch<\/em>. Un infl\u00e9chissement du paradoxe \u00e0 la pr\u00e9t\u00e9rition<\/p>\n Aur\u00e9lia Kalisky<\/strong>, Un discours de mutant comme une escadrille de F16. L’\u00e9criture romanesque de Kalisky dans L’Impossible Royaume<\/em><\/p>\n David Willinger<\/strong>, Confirmation of a Belgian National Repertoire Issuing from Maeterlinck in the Dramaturgy of Kalisky’s Dave au bord de mer<\/em><\/p>\n Annamaria Laserra<\/strong>, De Romain Gary \u00e0 Ren\u00e9 Kalisky, les deux Europa<\/em> de 1972<\/p>\n Agnese Silvestri<\/strong>, \u00ab Surjouer\u00a0\u00bb avec le feu: Le Pique-nique de Claretta<\/em> et la mise en sc\u00e8ne de Vitez<\/p>\n<\/div> Marc Quaghebeur<\/strong>,\u00a0Une autopsie qui va plus loin que celle du cadavre de Charles le T\u00e9m\u00e9raire Elena Quaglia<\/strong>,\u00a0L’\u00e9criture post-g\u00e9nocidiaire entre Jim le T\u00e9m\u00e9raire<\/em>\u00a0<\/i>et\u00a0<\/i>Falsch. <\/em>Un infl\u00e9chissement du paradoxe \u00e0 la pr\u00e9t\u00e9rition Aur\u00e9lia Kalisky<\/strong>,\u00a0Un discours de mutant comme une escadrille de F16. L’\u00e9criture romanesque de Kalisky dans\u00a0L’Impossible Royaume David Willinger<\/strong>,\u00a0Confirmation of a Belgian National Repertoire Issuing from Maeterlinck in the Dramaturgy of Kalisky’s\u00a0Dave au bord de mer Annamaria Laserra<\/strong>, De Romain Gary \u00e0 Ren\u00e9 Kalisky, les deux\u00a0<\/i>Europa<\/em>\u00a0<\/i>de 1972 Agnese Silvestri<\/strong>, \u00abSurjouer\u00bb\u00a0avec le feu:\u00a0<\/i>Le Pique-nique de Claretta<\/em>\u00a0et la mise en sc\u00e8ne de Vitez Marc Quaghebeur<\/strong>, An autopsy that goes further than that of the corpse of Charles the Bold Elena Quaglia<\/strong>, The post-genocidiary writing between Jim le T\u00e9m\u00e9raire <\/em>and Falsch. <\/em>A mutation from the paradoxe to the preterition Aur\u00e9lia Kalisky<\/strong>, A mutant discourse like an F16 squadron. Kalisky\u2019s novel writing in L\u2019Impossible Royaume<\/em> David Willinger<\/strong>,\u00a0Confirmation of a Belgian National Repertoire Issuing from Maeterlinck in the Dramaturgy of Kalisky’s\u00a0Dave au bord de mer<\/em> Annamaria Laserra<\/strong>, From Romain Gary to Ren\u00e9 Kalisky, the two Europa <\/em>of 1972 Agnese Silvestri<\/strong>, \u02baOverplaying\u201d with fire: Le Pique-nique de Claretta<\/em> and the staging of Vitez
\nLeggere questo numero su JSTOR<\/a><\/p>\n<\/div>Sommaire \/\u00a0<\/span>Indice<\/span><\/h2>\n<\/div>
Articles<\/h4><\/a><\/li>
R\u00e9sum\u00e9s<\/h4><\/a><\/li>
Abstracts<\/h4><\/a><\/li>
Bio-bibliographies des contributeurs<\/h4><\/a><\/li><\/ul><\/div>
Articles<\/h4><\/a><\/li><\/ul><\/div>
R\u00e9sum\u00e9s<\/h4><\/a><\/li><\/ul><\/div>
\nSc\u00e9nario fait de d\u00e9multiplications jouant notamment du flash-back, le Charles le T\u00e9m\u00e9raire<\/i> de Ren\u00e9 Kalisky ne fut jamais cr\u00e9\u00e9 mais \u00e9dit\u00e9 \u00e0 titre posthume dans sa version princeps. Les t\u00e9l\u00e9visions commanditaires non seulement contraignirent l\u2019auteur \u00e0 r\u00e9\u00e9crire son texte dans un sens lin\u00e9aire, mais ne le port\u00e8rent pas \u00e0 l\u2019\u00e9cran. Ce chef-d\u2019\u0153uvre est plus que l\u2019exceptionnelle restitution sc\u00e9nique et visuelle d\u2019un parcours historique et d\u2019une personnalit\u00e9 marquante de la fin du XVe<\/sup>\u202fsi\u00e8cle. L\u2019autopsie du cadavre au visage m\u00e9connaissable d\u00e9passe en effet celle de l\u2019identification de la d\u00e9pouille d\u00e9couverte dans la glace aux abords de Nancy. Elle renvoie \u00e0 l\u2019Histoire profonde de la Belgique et des pays d\u2019entre-deux dont Celle-ci est l\u2019embl\u00e8me\u202f; et, \u00e0 travers Elle, aux identit\u00e9s complexes qu\u2019a toujours d\u00e9fendues Ren\u00e9 Kalisky. Plaidoyer majeur du dramaturge et essayiste contre la d\u00e9shistoire, ce texte se focalise fonci\u00e8rement sur les visages. Il est au minimum \u00e0 triple entente. Kalisky a invent\u00e9 la Forme, baroque et visuelle, de cette Histoire, Forme qui met \u00e0 mal bien des clich\u00e9s.<\/p>\n
\n<\/em>Cet article essaie de montrer comment, dans l\u2019\u0153uvre de Ren\u00e9 Kalisky, le traumatisme engendr\u00e9 par la d\u00e9portation du p\u00e8re cr\u00e9e les fondements d\u2019une \u00e9criture o\u00f9 le questionnement de l\u2019identit\u00e9 juive ne peut que frayer avec la conscience de la mort. Ainsi, dans Jim le T\u00e9m\u00e9raire<\/i>, o\u00f9 le Juif semble avoir besoin du bourreau pour se d\u00e9finir, Kalisky emploie une \u00e9criture paradoxale, r\u00e9gie par la \u00ab hantologie \u00bb et par la \u00ab hontologie \u00bb. Dans Falsch<\/i>, le dramaturge r\u00e9ussit \u00e0 faire le deuil du pass\u00e9, \u00e0 travers une \u00e9criture de la pr\u00e9t\u00e9rition, que l\u2019on retrouve chez de nombreux auteurs de sa g\u00e9n\u00e9ration : tout en niant la possibilit\u00e9 d\u2019une repr\u00e9sentation artistique de l\u2019horreur, le texte laisse cependant entrevoir l\u2019opportunit\u00e9, pour le survivant, de comprendre les souffrances des disparus et d\u2019assumer sa jud\u00e9it\u00e9 d\u00e9ficitaire.<\/p>\n
\n<\/em>Dans cet article, Aur\u00e9lia Kalisky se penche sur l\u2019unique roman de Ren\u00e9 Kalisky, L\u2019Impossible Royaume<\/i>. Centr\u00e9 sur les th\u00e8mes du sionisme et l\u2019identit\u00e9 juive en relation avec l\u2019histoire de l\u2019\u00c9tat d\u2019Isra\u00ebl, ce r\u00e9cit de fiction \u00e9crit \u00e0 la premi\u00e8re personne relate le parcours d\u00e9senchant\u00e9 d\u2019un sc\u00e9nariste juif parisien confront\u00e9 aux limites de la cr\u00e9ation artistique et de l\u2019engagement politique face \u00e0 ce qu\u2019il per\u00e7oit comme la d\u00e9rive nationaliste de l\u2019\u00c9tat h\u00e9breu \u00e0 la fin des ann\u00e9es 1970. Aur\u00e9lia Kalisky en analyse la po\u00e9tique en s\u2019int\u00e9ressant notamment \u00e0 la nature transg\u00e9n\u00e9rique d\u2019un \u00ab\u202froman-essai\u202f\u00bb tenant \u00e0 la fois du pamphlet et du roman proph\u00e9tique, empruntant simultan\u00e9ment ses codes au roman d\u2019initiation ou au r\u00e9cit de voyage satirique. Elle met en \u00e9vidence la dimension r\u00e9flexive d\u2019un r\u00e9cit retra\u00e7ant l\u2019\u00e9chec d\u2019une utopie en acte\u202f: celle d\u2019un art capable d\u2019inverser le cours mortif\u00e8re d\u2019une histoire marqu\u00e9e par la r\u00e9p\u00e9tition catastrophique.<\/p>\n
\n<\/em>Le but de cet essai est de mettre en \u00e9vidence les liens de filiation, peu \u00e9vidents \u00e0 premi\u00e8re vue, existant entre son \u0153uvre et celle de Maurice Maeterlinck. C\u2019est surtout dans ses deux pi\u00e8ces consacr\u00e9s \u00e0 des th\u00e8mes li\u00e9s \u00e0 son identit\u00e9 juive, Jim le t\u00e9m\u00e9raire et Dave au bord de mer<\/em>, que les affinit\u00e9s entre les \u0153uvres se manifestent le plus clairement. Maeterlinck comme Kalisky ignoraient les exigences de la mise en sc\u00e8ne, mais c\u2019est aussi sur plusieurs autres aspects que les dramaturgies des deux auteurs belges peuvent \u00eatre rapproch\u00e9es : l\u2019emploi de la stasis et le refus d\u2019une action dramatique normative caract\u00e9ristique de la pi\u00e8ce bien faite ; le recours aux m\u00e9ta-narratifs tir\u00e9s de contes de f\u00e9es dans le cas de Maeterlinck et du Livre de Samuel chez Kalisky ; l\u2019emphase sur la musicalit\u00e9 du langage et l\u2019usage des r\u00e9p\u00e9titions ; l\u2019emploi, enfin, de personnages arch\u00e9typiques qui ont en m\u00eame temps conscience de leur qualit\u00e9 de personnages de th\u00e9\u00e2tre.<\/p>\n
\nCet essai tente d\u2019\u00e9valuer l\u2019impact d\u2019Europa<\/i>, roman de Romain Gary, sur Ren\u00e9 Kalisky, en le mettant en relation avec un souci de renouvellement esth\u00e9tique commun aux deux \u00e9crivains, et s\u2019exprimant chez l\u2019un dans le roman, chez l\u2019autre dans le th\u00e9\u00e2tre. Trouvant Europa<\/i> \u00ab\u202fextraordinairement th\u00e9\u00e2tral\u202f\u00bb, Kalisky en donna une adaptation sc\u00e9nique. N\u00e9anmoins, par la suite, il reconnut davantage l\u2019influence d\u2019Antoine Vitez et eut l\u2019impression que l\u2019essentiel de l\u2019apport garyen \u00e0 sa d\u00e9marche s\u2019\u00e9tait limit\u00e9 \u00e0 la seule conception de l\u2019espace et du temps. En r\u00e9alit\u00e9, cet apport est all\u00e9 bien plus loin. \u00c0 l\u2019analyse, on constate chez Gary un renouvellement de l\u2019art romanesque comparable \u00e0 celui que Vitez a op\u00e9r\u00e9 dans le th\u00e9\u00e2tre. Ses id\u00e9es ont constitu\u00e9 le noyau essentiel de ce que Kalisky consid\u00e9ra plu tard avoir trouv\u00e9 chez Vitez. Cette \u00e9tude tente de faire la part des choses en rendant \u00e0 Gary ce qui lui appartient au sein du processus de maturation cr\u00e9atrice de Kalisky.<\/p>\n
\nCet article revient sur la rencontre entre Ren\u00e9 Kalisky et Antoine Vitez et sur la mise en sc\u00e8ne, en 1974, du Pique-nique de Claretta<\/i>. Il pr\u00e9cise les raisons d\u2019une d\u00e9couverte r\u00e9ciproque dans l\u2019exigence, \u00e9galement ressentie par l\u2019un et l\u2019autre artiste, d\u2019un renouvellement des formes dramatiques, ainsi que d\u2019un d\u00e9passement des limites du brechtisme. En s\u2019appuyant sur des sources vari\u00e9es et encore inexploit\u00e9es (la correspondance entre les deux artistes, leurs brouillons in\u00e9dits, leurs notes de travail, les nombreux comptes rendus de la pi\u00e8ce), il analyse les diff\u00e9rences qui se dessinent entre la dramaturgie du texte et celle de la mise en sc\u00e8ne. L\u2019aspiration kaliskienne \u00e0 un th\u00e9\u00e2tre qui assume des risques pour se lib\u00e9rer d\u2019un manich\u00e9isme r\u00e9ducteur et inefficace \u00e0 lutter contre les nouvelles formes de fascisme, r\u00e9v\u00e8le une audace qui, en cette occasion, par rapport aux sch\u00e9mas culturels de l\u2019\u00e9poque, appara\u00eet plus libre que celle d\u2019Antoine Vitez.<\/p>\n<\/div>Abstracts<\/h4><\/a><\/li><\/ul><\/div>
\nAssembling shattered pieces of history, moving backward and forward through time and space, Ren\u00e9 Kalisky\u2019s Charles le T\u00e9m\u00e9raire initially took the form of a commissioned tv script, which was never shot but posthumously published in its earliest version. in fact, the co-producing broadcasters demanded that the author rewrite it as a linear script, but in the end decided against shooting it anyway. this masterpiece is much more than an exceptional reconstitution of an outstanding 15th century historical episode or figure. the autopsy done on a faceless corpse leads not only to the identification of physical remains discovered in the icy vicinity of Nancy : it also opens up an in-depth analysis of Belgium history, as well as any such \u00ab in-between country \u00bb, and stages complex identities, which was Kalisky\u2019s main concern. By focusing principally on the topic of faces and figures, and so bringing at least three divergent meanings to the fore, this work can be regarded as a plea against the temptation to unravel history. Kalisky literally invented a baroque and visual form that cleanses history of all the clich\u00e9s and stereotypes that generally accrue to it.<\/p>\n
\nThis article attempts to show how, in the works of Ren\u00e9 Kalisky, the original trauma of his father\u2019s deportation creates a form of writing in which Jewishness is necessarily associated with the awareness of death. In Jim le T\u00e9m\u00e9raire<\/em>, the Jew seems to have need of his executioner in order to define himself : Kalisky adopts a form of paradoxical writing about Jewishness, governed by \u00ab hauntology \u00bb and \u00ab hontology \u00bb. In Falsch<\/em>, the playwright manages to mourn for the past, through preterition, a form of writing typical of his generation. While the text denies the potential for artistic representation of the horror-inducing events, it suggests nonetheless that the survivor ultimately be given the opportunity to understand the suffering of all that has been lost and to accept his own inadequate Jewishness.<\/p>\n
\n<\/em>In her article, Aur\u00e9lia Kalisky focuses on Ren\u00e9 Kalisky\u2019s one and only novel, L\u2019Impossible Royaume. Emphasizing themes of Zionism and Jewish identity in relation to the story of the state of Israel, this first-person fictional narrative relates the disillusioned trajectory of a Jewish filmscript writer living in Paris who is forced to realize the limits to artistic creation and political engagement when confronted with the dominant nationalist thrust behind the Hebrew state toward the end of the 1970s. Aur\u00e9lia Kalisky focuses on the trans-generic nature of a \u00ab\u202fnovel-essay\u202f\u00bb, with its opposing pulls between political pamphlet and prophetic novel, that simultaneously employs codes native to the novel of initiation as well as the satirical travel book. She exposes the reflexive dimension of a narrative that takes us through the failure of a Utopia in the making\u202f: that of an art capable of overturning the fatal course of a history marked by catastrophic repetitions.<\/p>\n
\nThis essay traces some tantalizing connections between the first major Belgian playwright, Maurice Maeterlinck, and his seemingly unlikely theatrical descendant, Ren\u00e9 Kalisky. Particularly in his two masterpieces on Jewish themes, Jim le t\u00e9m\u00e9raire and Dave au bord de mer, we can see the \u00ab\u202ffamily resemblance\u202f\u00bb most clearly. Though ignorant of theatre practice, the two Belgians\u2019 dramaturgies reflect each other\u202f: the use of stasis and backgrounding normal dramatic action\u202f; in resorting to meta-narratives, in Maeterlinck\u2019s case, through fairy tales of the Brother Grimm and others and in Kalisky\u2019s the Old Testament Book of Samuel\u202f; the emphasis on musicality of language and such techniques as repetition over the mechanism of the Well-Made Play\u202f; the use both of archetypical characters and characters who manifest a consciousness of their own theatricality, all accumulate to form a picture of national theatrical identity in this pairing.<\/p>\n
\n<\/i>This study endeavors to sort through the reasons for the great impact that Romain Gary\u2019s novel, Europa, had on playwright Kalisky, who adapted it for the stage the very year of its publication. Both writers had in common a desire to renew their respective arts. However, while at an earlier point in his career, the younger Kalisksy recognized Gary\u2019s influence on him, he instead later avowed the influence of another master playwright, Antoine Vitez, on his approach to theater. Nonetheless a close reading of the epistolary exchanges between Kaliksy and Vitez and others writers clearly shows that Gary\u2019s impact on Kaliksy indeed preceded the ideas he purported to have found in Vitez. In fact, one may see some similarity between Gary\u2019s renewal of the art of narrative and that Vitez brought to theater. Kaliksy indeed had once qualified Europa as an \u00ab\u202fextraordinary theatrical\u202f\u00bb novel. This study renders unto Gary the essential part he played in Kalisky\u2019s intellectual development.<\/p>\n
\n<\/i>This article focuses on the encounter between Ren\u00e9 Kalisky and Antoine Vitez, with specific emphasis on the production of Le Pique-nique de Claretta in 1974. It also examines the reasons of their mutual discovery based on an interest in going beyond the precepts of Brechtian theatre and their common search for a renewal of dramatic forms. Thanks to a large variety of documents (correspondence, unpublished drafts, working papers, newspapers reviews), this work analyses from a dramaturgic point of view the differences between Kalisky\u2019s text and the production of the play. Vitez\u2019s mise-en-sc\u00e8ne of Le Pique-nique reveals the Belgian author\u2019s position to evince a wider degree of freedom from contemporary ideological and cultural schemata than might be indicated in the written text. Kalisky aims at a new theatrical model that avoids simplistic, clear-cut structures, and boldly conceives of his theatrical model as a weapon against new forms of Fascism.<\/p>\n<\/div>