Le parlé-chanté dans Phèdre de Jean Racine et Partage de midi de Paul Claudel

dc.contributor.author	Deregnoncourt, Marine
dc.date.accessioned	2020-04-08T09:05:26Z
dc.date.available	2020-04-08T09:05:26Z
dc.date.issued	2016
dc.description.abstract	In this article we will seek to answer how, in Phèdre to Jean Racine and Noon’s Sharing to Paul Claudel, the « parlé-chanté » is particularly significant. To do so, this article will be divided in three parts. In the first part, the « parlé-chanté » will be defined and linked to Arnold Schoenberg’s Sprechgesang. While the second part will issue on Phèdre by Jean Racine, the third and final part will focalize on Paul Claudel's Noon’s Sharing. By focusing on the two aforesaid plays we will try to prove that the operatic voice is always present in the acting choices and that the two playwrights accustomed the dramatic rules of their time.	pl
dc.identifier.citation	"Quêtes littéraires" 2016, nº 6, s. 46-55.	pl
dc.identifier.doi	https://doi.org/10.31743/ql.210
dc.identifier.issn	2084-8099
dc.identifier.uri	http://hdl.handle.net/20.500.12153/956
dc.language.iso	fr	pl
dc.rights	Uznanie autorstwa 4.0 Międzynarodowe
dc.rights.uri	https://creativecommons.org/licenses/by/4.0/legalcode.pl
dc.subject	the « parlé-chanté »	pl
dc.subject	the operatic voice	pl
dc.subject	Phèdre; Noon’s Sharing	pl
dc.title	Le parlé-chanté dans Phèdre de Jean Racine et Partage de midi de Paul Claudel	pl
dc.title.alternative	The « parlé-chanté » in Phèdre to Jean Racine and Noon’s Sharing to Paul Claudel	pl
dc.type	info:eu-repo/semantics/article	pl

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