Le Clavecin oculaire du P. Castel

Chouillet, Anne-Marie

doi:10.3406/dhs.1976.2812

Cited by 5 publications

(11 citation statements)

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“…From that stems the need for the painter to alter the natural state and to reduce it to an artificial state: and will it not be the same on the stage? 13 This formulation is an explicit realization of yet another classical aphorism -ut pictura poesis ('poetry is like painting') -from Horace's Art of Poetry and, more exactly, a fulfilment of the clear implications of a passage from Plutarch comparing the two arts:…”

Section: Molierementioning

confidence: 99%

“…Aristotle, Poetics, Ch. 17 8 This perception leads Diderot forward, in the same section of the Discourse, to suggest an equal role for pantomime as that afforded to dialogue or speech in classical theory and standard practice.…”

Section: Diderot Discoursementioning

confidence: 99%

“…But one needs skill to manage the gaps. 9 The full section on pantomime occurs towards the end of the Discourse, as a climactic argument, and here Diderot switches to the prescriptive mode of manifesto:…”

Section: Diderot Discoursementioning

confidence: 99%

“…At the beginning of a section on the sketch for a plot, Diderot cites Aristotle, Horace, and Boileau as the three most outstanding 'amongst an infinity of men who have written on the art of poetry'. 4 In choosing prose for his medium, Diderot clearly follows his own inclinations; but, like Aristotle, he also implicitly accepts the invitation issued by a censorious Plato in the Republic, Book 10, for a 'prose speech' in defence of poetry. 5 This choice also brings with it a decisive shift of emphasis because, unlike his historic predecessor Boileau (who was justifying a verse practice in verse), Diderot is prepared from the beginning to give theoretical status to prose drama.…”

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confidence: 99%

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The Significance of Diderot

Ley¹

1995

New Theatre Quarterly

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Best known in his own times as an encyclopedist, the eighteenth-century French writer, philosopher, dramatist, and critic Denis Diderot (1713–84) was to emerge a century later, though his Paradoxe sur le comédien, as a posthumous protagonist in the debate launched in Britain in William Archer's Masks or Faces? (1888). That debate – on the role of feeling and instinct versus craft and technique in acting – has been taken up and sustained by many theorists and practitioners in the succeeding century. In the following article, however, Graham Ley is more concerned with Diderot's wider role as theatrical theorist, suggesting that he offers – as also in his defence of pantomime, his proposal for the ‘serious genre’ which anticipated realism, and his advocacy of scenographic reform – not a unified vision of the nature of theatre but an enduring sense, precisely, of its paradoxical and ironic qualities. Graham Ley has just joined the Department of Drama at the University of Exeter, having previously taught in London and New Zealand. He is currently completing a book on theatrical theory, on which he has previously also published in NTQ, most recently on ‘The Role of Metaphor in Brook's The Empty Space’ (NTQ35, 1993). Among his numerous publications on ancient performance, A Short Introduction to the Ancient Greek Theatre appeared from the University of Chicago Press in 1991.

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Section: Molierementioning

confidence: 99%

Section: Diderot Discoursementioning

confidence: 99%

Section: Diderot Discoursementioning

confidence: 99%

mentioning

confidence: 99%

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The Significance of Diderot

Ley¹

1995

New Theatre Quarterly

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“…Tout se passe donc comme si Locke récusait par avance la théorie du jésuite. Sur l’histoire de la théorie et de la réalisation de cet instrument, voir Chouillet-Roche (1976).…”

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«Leur aveuglement est systématique». Rôles de la cécité dans la critique et la construction des systèmes au XVIII^esiècle

Chottin

2018

Dialogue

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Cet article étudie les rapports que l’idée de système, au siècle des Lumières, entretient avec la cécité et constate que celle-ci constitue aussi bien une arme employée pour disqualifier les métaphysiques du XVIIe siècle, qu’un lieu où la pensée peut se constituer, voire se systématiser à distance du dogmatisme. Les Lumières françaises exploitent l’usage métaphorique de la cécité et plongent les systématiques dans les ténèbres de l’ignorance. Mais, avec Diderot, elles montrent aussi que la philosophie est au sens propre une affaire de cécité, pour le pire comme le meilleur.

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