Aisthesis by Jacques Ranciere

Author:Jacques Ranciere
Language: eng
Format: epub
Publisher: Verso Books
Published: 2013-05-03T04:00:00+00:00

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1 Maurice Maeterlinck, ‘À propos de Solness le constructeur’, Le Figaro, 2 April 1894. This article was included in the collection edited by S. Gross, Introduction à la psychologie des songes et autres écrits, 1886–1996 (Brussels: Editions Labor, 1985), p. 96–102. Maeterlinck republished a slightly modified version with the title ‘Le tragique quotidien’ in his 1896 collection Le Trésor des Humbles (Brussels: Editions Labor, 1986), pp. 101–10; ‘The Tragical in Daily Life’, in The Treasure of the Humble, transl. A. Sutro (New York: Dodd, Mead & Co., 1913), pp. 95–120. An anonymous English translation of the column also appeared as ‘Maeterlinck on the Drama with Ibsen’s Master Builder as his Text’, New York Times, 13 May 1894.

2 Maeterlinck, ‘À propos de Solness le constructeur’.

3 See the preface by Count Prozor to the translation, Solness le constructeur (Paris: A. Savine, 1893).

4 Stéphane Mallarmé, ‘Hamlet’, Divagations in Oeuvres complètes, vol. II, p. 166. Mallarmé’s text was published in 1886 in the Revue indépendante; ‘Hamlet’, in Divagations, transl. Johnson, p. 124.

5 Andrei Bely, ‘Theatre and Modern Drama’, transl. Laurence Senelik, in Russian Dramatic Theory from Pushkin to the Soviets: An Anthology (Austin: University of Texas Press, 1981), pp. 158–60.

6 Arthur Pougin, Dictionnaire historique et pittoresque du théâtre (Paris: Firmin-Didot, 1885), p. 522.

7 ‘Disguise Melpomene as the muse of scenery / For you tragedy is mise en scène … / Of the Théâtre Français, make an optics no more / Theatre is a temple not a store.’ Léon Halévy, Le Théâtre-Français, épître-satire à M. le baron Taylor (Paris, 1828), p. 18; quoted in Marie-Antoinette Allevy, La Mise en scène en France dans la première moitié du XIXe siècle (Geneva: Slatkine Reprints, 1976), p. 87.

8 Richard Wagner, Opera and Drama, transl. W. Ashton Ellis (Lincoln, NE, and London: University of Nebraska Press, 1995), p. 224.

9 Richard Wagner, The Artwork of the Future and Other Works, transl. W. Ashton Ellis (Lincoln, NE, and London: University of Nebraska Press, 1993), p. 152.

10 Ibid., p. 181. Appia comments on the formula in ‘Musique et mise en scène’, in Œuvres complètes, vol. II (Lausanne: L’ge d’homme, 1986), p. 118; B. Hewitt, ed., Music and the Art of Theatre, transl. R. W. Corrigan and M. D. Dirks (Florida: University of Miami Press), p. 111.

11 Wagner, Opera and Drama, p. 314.

12 Appia, ‘Musique et mise en scène’, p. 82; Hewitt, Music and the Art of Theatre, p. 52.

13 Appia, ‘Musique et mise en scène’, p. 53; Hewitt, Music and the Art of Theatre, p. 17.

14 Adolphe Appia, La Mise en scène du drame wagnérien, in Œuvres complètes, vol. I (Lausanne: L’ge d’homme, 1983), p. 272; Staging Wagnerian Drama, transl. with an Introduction by P. Loeffler (Basel: Birkhäuser Verlag, 1982), p. 59.

15 Staging Wagnerian Drama, p. 59.

16 Stéphane Mallarmé, ‘Solennité’, in Divagations, in Oeuvres complètes, vol. II, p. 200; ‘Solemnity’, in Divagations, transl. Johnson, p. 166.

17 Friedrich von Schiller, On the Aesthetic Education of Man, transl. R. Snell (Mineola, NY: Dover Books, 2004), p. 80.

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