To Represent: Némirovsky between Narrative and Theatre
DOI:
https://doi.org/10.13130/2039-9251/12059Abstract
The paper aims to explore the theatrical success of Irène Némirovsky’s work, analysing in particular two Italian productions: Il Ballo, conceived and performed by Sonia Bergamasco, and the play Jezabel, adapted from the namesake novel by Maddalena Mazzocut-Mis and Sofia Pelczer, and directed by the latter. The analysis of these performances allows also to highlight the inherent theatrical dimension of Némirovsky’s work, both on a thematic and formal level.
Némirovsky, representation, theatre, intermediality
References
BAUDELLE, Yves, “‘L’assiette à bouillie de bonne-maman’ et ‘le râtelier de rechange de papa’. Ironie et comique dans Suite française”, Dossier Critique, Roman 20-50, David Golder, Le Vin de solitude et Suite française d’Irène Némirovsky, Études réunies par P. Renard et Y. Baudelle, Roman 20/50, 54, dicembre 2012, pp. 109-123.
BERGAMASCO, Sonia, Il Ballo, racconto di scena ideato e interpretato da Sonia Bergamasco, copione, 2015.
MAZZOCUT-MIS, Maddalena, PELCZER, Sofia, Jezabel, Dramma con Prologo in due atti, Adattamento dall’omonimo romanzo di Irène Némirovsky, copione, 2017.
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–, “Notice, Jézabel”, in I. Némirovsky, Œuvres complètes, introduction, présentation et annotation des textes par Olivier Philipponnat, Le Livre de Poche, Paris 2011, t. i.
–, “Notice, Le Bal”, in I. Némirovsky, Œuvres complètes, introduction, présentation et annotation des textes par Olivier Philipponnat, Le Livre de Poche, Paris 2011, t. i.
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