Nowadays, the discourse tn Maeterlinck's dramas seems to be a web of faults concerning the story levels as well as the meanings. L'Organisation du recit dans Pelleas et Melisande de Maeterlinck analyses the text regarding these aspects which confer to the play a dreamlike character. The dream atmosphere is mainly suggested by a narrative background interfering into the plot: the symbolic message. / Our survey of the play tends to examine the paradoxal and incomplete nature of the events in their accounts. The reports also contain potential new facts and stories' material to be developped. It is the laborious introduction, the many repetitions and the unanswered questions that involve the play into the quest of a story. This process puts the reader into the experience of the theatre de l'attente. Consequently we suggest the following hypothesis: the audience, or the reader, does not assist to what the play seems to show, but to the symbolization of the characters' subconscious created by the story levels and intertextuality. The traditional scene is relegated far beyond the reality and the reflexive conclusion of the play reiterates the initial scene. / We think that the rehabilitation of the Ancestral Order creates a new potential narrative background--a story to come--since the play showed many motives borrowed to prior legends, the Bible, and other dramas. The symbolic complexity muddle up the play and converge mainly to draw a late feodal submission to fate.

Thesis--Cologne. / Vita. Bibliography: p. 9-14.

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Teilw. zugl.: Bruxelles, Univ. Libre, Diss. D. Laoureux.

La plupart des études menées sur la dimension scénique du théâtre français et européen pour la période couvrant la fin du XIXe siècle et le début du XXe siècle portent sur la scénographie (espace, décor, éclairage, liens avec la peinture et le nouveau média cinématographique). Si les éléments sonores sont souvent mentionnés et parfois analysés, c’est de façon compartimentée, selon des catégories (voix – déclamation et diction–, musique, bruitage) qui ne sont pas réinterrogées. La dimension acoustique en tant que telle n’est pas problématisée. Or, l’art du théâtre se fonde sur un dispositif où l’écoute importe autant que la vue, la première pouvant l’emportant sur la seconde, et la période étudiée constitue dans l’histoire du son un moment-charnière, avec l’apparition groupée du téléphone, du phonographe et du microphone (1875-1878), les progrès de l’acoustique scientifique et de l’otologie, la transformation des pratiques de l’écoute. Les raisons de l’oubli du sonore sont complexes : la prééminence accordée à la vision dans la pensée occidentale, l’invention de la « mise en scène », la résistance du théâtre aux nouvelles technologies sonores. Nourrie de l’apport des Sound Studies, la thèse remet le son dans le jeu : après avoir dressé un panorama de la pensée et du paysage sonore intermédial à la fin du XIXe siècle (théâtrophone, enregistrements d’acteurs, etc.), elle observe les effets plus profonds du « tournant acoustique » sur l’espace dramatique, sur la figure scénique, sur la vocalité, respectivement étudiés à travers les pratiques de trois poètes-hommes de théâtre : Maeterlinck, Jarry, Charles Cros. Ce sont les bases du théâtre qui ont été interrogées. / The majority of studies on scenic dimensions of late 19th - early 20th century French and European theatre center on scenography (space, scenery, lights, relations to painting and new cinematographic media). If certain aspects of sound are mentioned, and sometimes analyzed, the approaches are often compartmentalized into categories including voice (declamation, music, sound effects, which are never themselves questioned). The acoustical dimension is never fully problematized. However, the art of theatre is founded on a schema where listening matters as much as seeing, if not more. In the history of sound, the period on which this study comports constitutes an important turning point, with the invention of the telephone, phonograph, and microphone (1875-1878), progress in the fields of acoustical science and otology, and the transformation of listening practices. The reasons for sound’s oversight are multiple, including the pre-eminence accorded to vision in Occidental thought, the invention of the “mise en scène”, theatre’s resistance to new sound technologies. Nourished by Sound Studies, this dissertation seeks to bring sound back into play. After presenting a panorama of the activities and thought emerging from the intermedial soundscape at the end of the 19th century (théâtrophone, actor’s recordings, etc), it observes the deeper effects of these acoustical phonomena on dramatic space, the scenic figure, and vocality through respective studies of three poets-theatre creators: Maurice Maeterlinck, Alfred Jarry and Charles Cros. The very bases of theatre are interrogated.

Analyser l’ensemble de l’œuvre dramatique disponible de Maurice Maeterlinck, soit trente et une pièces de théâtre, en se laissant guider par le fil rouge majeur, son rapport avec les textes sacrés du christianisme, tel est l’objet de cette thèse. Les deux premiers théâtres maeterlinckiens apparaissent nettement comme deux tablettes antithétiques d’un même dyptique représentant respectivement l’enfer et le paradis. Aussi la notion biblique du libre arbitre s’impose-t-elle comme un facteur différentiel pertinent entre le théâtre du silence et d’aliénation et le théâtre de la parole et de libération. Des principes bibliques tels que la loi de la croyance, la puissance de la confession, le contraste entre les ténèbres et la lumière, la guerre et la paix, la perdition et la rédemption, la justice humaine et la justice divine, la mort et la résurrection des morts semblent s’ériger en métaphores obsédantes et en thématiques transversales unissant les quatre principaux moments du théâtre maeterlinckien. / Analyzing all the available dramatic work of Maurice Maeterlinck, about thirty-one plays, guided by the main thread, his relationship with the sacred texts of Christianity, this is the aim of this thesis. The first two Maeterlinck’s theaters appear clearly as two antithetical tablets of the same bifacial painting representing the hell and the paradise. Also the biblical concept of the free will is required as a relevant factor of difference between the theater of silence and alienation and the theater of the speech and release. Biblical principles such as the law of believing, the power of confession, the contrast between darkness and light, war and peace, perdition and redemption, human justice and divine justice, death and resurrection of the dead seem to stand in haunting metaphors and transverse themes linking the four key moments of Maeterlinck’s theater.

This thesis examines the impact of Maurice Maeterlinck’s ideas on modern artists. Maeterlinck's poetry, prose, and early plays explore inherently Symbolist issues, but a closer look at his works reveals a departure from the common conception of Symbolism. Most Symbolists adhered to correspondence theory, the idea that the external world within the reach of the senses consisted merely of symbols that reflected a higher, objective reality hidden from humans. Maeterlinck rarely mentioned symbols, instead claiming that quiet contemplation allowed him to gain intuitions of a subjective, truer reality. Maeterlinck’s use of ambiguity and suggestion to evoke personal intuitions appealed not only to nineteenth-century Symbolist artists like Édouard Vuillard, but also to artists in pre-World War I Paris, where a strong Symbolist current continued. Maeterlinck’s ideas also offered a parallel to the theories of Henri Bergson, embraced by the Puteaux Cubists Jean Metzinger and Albert Gleizes. Bolstered by new scientific discoveries that legitimized the existence of unseen realms, and intrigued by the idea of the fourth dimension as infinite higher space, Cubists such as Metzinger responded to Maeterlinck’s highly popular 1908 play L’Oiseau bleu, finding there an analogy to the Cubist quest for higher realities. Despite Maeterlinck’s popularity in the nineteenth and early twentieth centuries, he has been largely ignored, especially with regard to twentieth-century art. By examining the responses of artists and contemporary critics to Maeterlinck, as well as the intersection of his theories with the larger cultural context, this thesis aims to bring Maeterlinck back into focus. / text

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