Seppur premiata da una fortuna minore rispetto a quella occorsa alle opere narrative, la produzione teatrale di Svevo rappresenta una parentesi determinante della sua carriera letteraria: il triestino, infatti, ci ha lasciato un corpus teatrale significativo, composto da tredici copioni, distribuiti su un arco biografico che si estende dal 1880, anno dell’Ariosto governatore, fino ad arrivare, con La rigenerazione, agli anni immediatamente precedenti alla morte. Si consideri, inoltre, che quella per il teatro fu una passione che accompagnò Svevo per l’intera esistenza, sia come frequentatore di spettacoli tanto in Italia quanto all’estero, sia come critico per le più importanti testate triestine. Per questi motivi, è parso opportuno in questo lavoro di ricerca tornare su un tema – quello delle commedie di Svevo – meno considerato dalla critica. Nella prima sezione della tesi, intitolata Svevo e il teatro, dopo un rapido profilo della critica e della storia delle rappresentazioni, si è cercato di delineare i confini del rapporto che unì Svevo al mondo del palcoscenico. Nella seconda sezione di del lavoro, intitolata Trasgressione, ribellione e falsificazione nel teatro sveviano, sono state prese in analisi le pièces del triestino; le commedie sono state raggruppate in base a tre nuclei tematici: trasgressione, ribellione e falsificazione. / Although rewarded by a minor fortune than that which occurred to the novels, Svevo’s plays are a determinant parenthesis of his literary career: in fact, the writer has left thirteen commedies, distributed over a biographical arch which extends from 1880, the year of Ariosto governatore, up to, with La rigenerazione, the years immediately preceding his death. Consider, too, that the theater was a passion that accompanied Svevo for the whole of life, both as a frequenter of shows in Italy and abroad, both as a critic for the most important newspapers in Trieste. For these reasons, it seemed appropriate in this research back on a theme - that of Svevo’s plays - less regarded by critics. In the first section of the thesis, entitled Svevo e il teatro, after a short outline of the criticism and of the history of representations, we tried to delineate the borders of the relationship that joined Svevo to the world of the stage. In the second section of the work, entitled Trasgressione, ribellione e falsificazione nel teatro sveviano, were taken into analysis the plays; comedies were grouped according to three themes: transgression, rebellion and forgery.

A cent jours du baccalauréat, les élèves des classes de terminale fêtent le Père cent. Déguisés, ils vont par petits groupes, telle une parade carnavalesque, faire la quête sur les ronds-points et se retrouvent tous en soirée pour danser. C’est une sorte de rite de passage, commémorant les années passées ensemble avant de se séparer. L’institution scolaire ne voit pas toujours d’un bon œil ces pratiques assimilées à du « bizutage ». Le Conseiller Principal d’Éducation, par ses fonctions, est responsable de l’animation éducative de l’établissement. Il doit accompagner les élèves dans toutes leurs initiatives, sans pour autant, dans le cas du Père cent, cautionner institutionnellement l’événement. Comment une pratique interdite peut-t-elle se dérouler ? Quelle fonction remplit-elle auprès de ces jeunes qui transgressent les règles ? Quelle peut être la posture du C. P. E. dans l’exercice de son autorité face à un rituel lycéen subversif ? L’historiographie de cette fête (1880-2010) et la lecture d’images photographiques sur plus d’un siècle nous a permis d’en relever les éléments fondamentaux et les origines militaires et normaliennes. Une lecture herméneutique a dégagé les invariants et fait émerger la forme archétypale du Père cent. Convoquant les concepts de fête, de rites de passage et de transgression de l’autorité, la méthodologie employée a montré comment la fête, par son émergence ouvre un espace propice aux rites de passage et aux transgressions. Elle offre à ces jeunes l’occasion opportune de témoigner de leur maturité. Par voie de conséquence, la fonction de C. P. E. apparaît au cœur des multiples tensions et des contradictions que catalyse la fête du Père cent. Le support théorique de cette recherche est amplement nourri par les travaux d’A. v. Gennep et de V. W. Turner sur les rites de passage, de R. Caillois, J. Heers, M. Maffesoli sur la fête, de P. Meirieu, J. Housaye, P. Bourdieu, F. Lerbet-Séréni, sur l’éducation, P. Audi, B. Robbes, A. Kojève pour l’autorité et X. Pommereau, J-J. Rassial pour l’adolescence. Dépassant le cadre de cette fête, l’étude montre l’intérêt et le profit, pour le C. P. E., d’investir les moindres espaces éducatifs afin de faire advenir l’auctor en chaque élève. / One hundred days prior to the baccalaureate exam, the 12th graders (US) / upper sixth pupils (GB) celebrate the Père cent. They wear disguises like people do in carnival parades and go begging for small change at roundabouts (crossroads). Eventually, they organize parties and dance (all night long). It is a kind of rite of passage to celebrate the good time spent together before everyone makes the parting of the ways. Most school officials look unfavourably on this custom / tradition as they consider it as hazing (US) / fresher initiation (GB). The CPE is in charge of the educational animation at school. He is supposed to guide the pupils' initiatives, without actually backing a celebration such as the Père Cent. How can a prohibited event take place each year ? What is the aim of breaking the rules for the youth ? How can the CPE react when confronted with this subversive ritual ? The historiography of this feast (1880-2010) and the analysis of pictures spanning one century made it possible to reveal the basic elements and the military origins of the celebration. (Ecole normale d’instituteurs) The unchanging factors of the celebration have emerged thanks to an hermeneutic analysis, the archetypal structure of the Père cent was thus outlined. Carrying the concepts of festival, rites of passage and rebellion against authority, the methodology used showed how the celebration is the perfect way for pupils to experience rites of passage and rebellion. Students get the opportunity to show evidence of their maturity. As a consequence, the duty of the CPE is at the heart of the tension and contradictions triggered up by the Père cent celebration. The theoritical support of this research largely stem from the work of A.Gennep and V.W. Turner about the rites of passage, R. Callois, J.Heers, M.Maffesoli about celebrations, P.Meirieu, J.Housaye, F.Lerbet-Séréni about education, P.Audi, B.Robbes, A. Kojève about authority and X. Pommereau, J-J. Rassial about adolescence. Beyond the celebration, this study shows how interesting and profitable it is for the CPE to commit himself in any educative field and rouse the pupils' auctor.