La pièce de théâtre La trilogie des dragons est le fruit du work in progress de six créateurs : Marie Brassard, Jean Casault, Lorraine Côté, Marie Gignac, Robert Lepage et Marie Michaud. Ce mémoire se penche sur le texte final qui a été publié en 2005, soit vingt ans après la création du spectacle. À l'aide d'un bassin théorique divers qui convoque l'analyse du texte de théâtre de Michel Pruner, les théories de la pragmatique de la communication et de la systémique, cette étude vise à mettre en lumière cinq axes : Ici structure de l'action dramatique (la fable, l'intrigue et l'action), le réseau des personnages, le temps, l'espace et finalement, le thème de la rencontre des cultures qui témoigne d'une ouverture graduelle à l'Autre et à l'Ailleurs. Cette "pièce-paysage" met en place un système riche et intelligent qui réquisitionne l'implication du lecteur afin que celui-ci décrypte les indices prémonitoires et les ramifications du texte.

Robert Lepage’s play The Dragons’ Trilogy stretches across space and time, travelling through three generations and three major Canadian cities, each section named for a dragon in the Chinese game Mahjong. The Blue Dragon continues the story of Pierre Lamontagne twenty years later, and in doing so, rounds out and completes the cycle of the three Dragons of The Dragons’ Trilogy. This thesis studies the evolution of Lepage’s treatment of the Other and the Self in The Dragons’ Trilogy and The Blue Dragon. Grouping these two plays together should be a foregone conclusion, because of the titles of each section and the character of Pierre Lamontagne, who appears in both plays, but it has in fact been discussed very little. This thesis thus examines the transformation of characters such as Pierre, who, from one play to the other, and through language and space, find the Other in the Self. To address this issue, the second chapter explores the question of plurilingualism, in order to show how the plurality of languages in the plays and among the characters promotes the ideal of communication and communion with the Other. In the third chapter, the thesis examines the theatrical space of the two plays; from the closed-off city of Québec during the 1930s in The Green Dragon to Pierre Lamontagne’s intimate and modern loft in The Blue Dragon, the imagined worlds perfectly mirror the interior journeys of the characters. Finally, the last chapter, which studies the characters, focuses on the question of stereotypes, the quests for identity, and the role artistic creation plays within these quests. Ultimately, this thesis demonstrates that in The Dragons’ Trilogy and The Blue Dragon, although Otherness may at first appear to be the opposite of Self, it is in fact found within identity. / Thesis (Master, French) -- Queen's University, 2012-12-20 17:04:10.317