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THREE DIFFERENT JOCASTAS BY RACINE, COCTEAU AND CIXOUS
- Date Issued:
- 2010
- Abstract/Description:
- This study is about three French plays in which Jocasta, the mother and wife of Oedipus, is shared as a main character: La Thébaïde (The Theban Brothers) by Jean Racine, La Machine Infernale (The Infernal Machine) by Jean Cocteau, and Le Nom dÃÂ'Oedipe (The Name of Oedipus) by Hélène Cixous. Jocasta has always been overshadowed by the tragic destiny of Oedipus since the onset of SophoclesÃÂ' works. Although these three plays commonly focus on describing the character of Jocasta, there are some remarkable differences among them in terms of theme, style, and stage directions. In The Theban Brothers, RacineÃÂ's 17th century play, Jocasta is described as a deathlike mother, while CocteauÃÂ's Jocasta, in The Infernal Machine, is portrayed as an ÃÂ"extravagant, liberal, and hilariousÃÂ" lady. In The Name of Oedipus, Cixous portrays Jocasta as a woman possessing hermaphroditic characteristics, ushering in a new era of resistance to the age-old paternal hierarchy. As for style, RacineÃÂ's neoclassical play shows a strict respect for the three unities of time, space, and action. CocteauÃÂ's avant-garde play neglects all these rules, while Cixous goes even further by destroying the order of languages, as illustrated by her ÃÂ"feminine writing.ÃÂ" Freed from Western orthodoxy, Cixous wants to contribute to the creation of cosmic unity. Her deconstructionist play intends to regenerate the world by establishing a new order and new point of view towards universality. The stage directions of these plays are also an important key to better understanding theatrical evolution. It is through the stage directions, indicated both implicitly and explicitly in these three plays, that enables us to appreciate the theatrical transformation in terms of visualization as well as metaphysics. In sum, the transformation of theme, style, and stage devices in portraying their own Jocastas demonstrates that while these three plays are deconstructional to one another, each denying the existing value and orders of their respective time periods, they are also constructional in that they all attempt to open a new horizon of theatre.
Title: | THREE DIFFERENT JOCASTAS BY RACINE, COCTEAU AND CIXOUS. |
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Name(s): |
Joo, Kyung, Author Listengarten, Julia, Committee Chair University of Central Florida, Degree Grantor |
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Type of Resource: | text | |
Date Issued: | 2010 | |
Publisher: | University of Central Florida | |
Language(s): | English | |
Abstract/Description: | This study is about three French plays in which Jocasta, the mother and wife of Oedipus, is shared as a main character: La Thébaïde (The Theban Brothers) by Jean Racine, La Machine Infernale (The Infernal Machine) by Jean Cocteau, and Le Nom dÃÂ'Oedipe (The Name of Oedipus) by Hélène Cixous. Jocasta has always been overshadowed by the tragic destiny of Oedipus since the onset of SophoclesÃÂ' works. Although these three plays commonly focus on describing the character of Jocasta, there are some remarkable differences among them in terms of theme, style, and stage directions. In The Theban Brothers, RacineÃÂ's 17th century play, Jocasta is described as a deathlike mother, while CocteauÃÂ's Jocasta, in The Infernal Machine, is portrayed as an ÃÂ"extravagant, liberal, and hilariousÃÂ" lady. In The Name of Oedipus, Cixous portrays Jocasta as a woman possessing hermaphroditic characteristics, ushering in a new era of resistance to the age-old paternal hierarchy. As for style, RacineÃÂ's neoclassical play shows a strict respect for the three unities of time, space, and action. CocteauÃÂ's avant-garde play neglects all these rules, while Cixous goes even further by destroying the order of languages, as illustrated by her ÃÂ"feminine writing.ÃÂ" Freed from Western orthodoxy, Cixous wants to contribute to the creation of cosmic unity. Her deconstructionist play intends to regenerate the world by establishing a new order and new point of view towards universality. The stage directions of these plays are also an important key to better understanding theatrical evolution. It is through the stage directions, indicated both implicitly and explicitly in these three plays, that enables us to appreciate the theatrical transformation in terms of visualization as well as metaphysics. In sum, the transformation of theme, style, and stage devices in portraying their own Jocastas demonstrates that while these three plays are deconstructional to one another, each denying the existing value and orders of their respective time periods, they are also constructional in that they all attempt to open a new horizon of theatre. | |
Identifier: | CFE0003540 (IID), ucf:48945 (fedora) | |
Note(s): |
2010-12-01 M.A. Arts and Humanities, Department of Theatre Masters This record was generated from author submitted information. |
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Subject(s): |
Racine Cocteau Cixous neo-classical surrealist avant-garde new theatre theatrical evolution |
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Persistent Link to This Record: | http://purl.flvc.org/ucf/fd/CFE0003540 | |
Restrictions on Access: | public | |
Host Institution: | UCF |