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Themes and Dramatic Forms in the Plays of Armand Salacrou

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Themes and Dramatic Forms in the Plays of Armand Salacrou University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Papers from the University Studies series (The University of Nebraska) University Studies of the University of Nebraska 10-1967 Themes and Dramatic Forms in the Plays of Armand Salacrou Juris Silenieks University of Nebraska-Lincoln Follow this and additional works at: https://digitalcommons.unl.edu/univstudiespapers Part of the Arts and Humanities Commons Silenieks, Juris, "Themes and Dramatic Forms in the Plays of Armand Salacrou" (1967). Papers from the University Studies series (The University of Nebraska). 73. https://digitalcommons.unl.edu/univstudiespapers/73 This Article is brought to you for free and open access by the University Studies of the University of Nebraska at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Papers from the University Studies series (The University of Nebraska) by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. new sertes no. 35 University of Nebraska Studies october, 1967 THEMES AND DRAMATIC FORMS IN 'THE PLAYS OF ARMAND SALACROU Juris Silenieks Themes and Dramatic Forms in the Plays of Armand Salacrou university of nebraska studies : new series no. 35 published by the university at lincoln : october 1967 The University of Nebraska The Board of Regents RICHARD E. ADKINS J. G. ELLIOTT, president RICHARD L. HERMAN JOSEPH SOSHNIK, corporation secretary B. N. GREENBERG, M.D. ROBERT L. RAUN EDWARD SCHWARTZKOPF The Chancellor CLIFFORD M. HARDIN Introduction MAND SALACROU is generally recognized to be one of the outstanding French playwrights whose literary careers A began between the two World Wars. Salacrou has written about thirty plays. Many of them have been produced at the lead­ ing theatrical centers in Europe, and some have earned success and fame for the author on African and Asian stages. Unlike the other distinguished dramatists of his generation such as Giraudoux, Anouilh, Sartre, and Cocteau, Salacrou's name has remained almost unknown to the theater audiences in this country. A number of his plays have been published in Italian, Spanish, German, Russian, and Japanese translations, but there are no publications in English as yet. As in the works of his contemporaries-Sartre, Camus, Girau­ doux, Anouilh-the major preoccupation of Salacrou is man and his place in the universe. Adumbrating Surrealist moods, Salacrou's first plays are almost totally introspective. They introduce the main themes that with varying intensity are found in his subsequent work. Virtually all of Salacrou's plays inquire into the purpose of man's existence, into man's relationship to himself, to God, and to his past. These themes are interwoven with other problems of a metaphysical nature such as determinism and free will, and at times they reflect the author's search for faith and transcendental values of human existence. Salacrou's preoccupation with universal issues has not changed fundamentally in the course of more than forty years. This persistence of themes has led to some degree of repetition but also has lent unity to Salacrou's theater. In form and mood, Salacrou's work presents a striking variety. In an unpredictable sequence, Salacrou has produced Surrealist dream plays, realistic character sketches, plays with distortions of reality in the Expressionist manner, hybrids of boulevard theater and naturalism, farces, vaudevilles, a psychodrama, and an approxi­ mation of the Brechtian epic theater. The principal purpose of this study is to examine the relationship between the conceptual 1 2 / The Plays of Armand Salacrou content and the various dramatic modes and forms of expression in Salacrou's plays. To date, a number of books and articles on the theater of Sala­ crou have appeared. Van den Esch, in his book Armand Salacrou, dramaturge de l'angoisse, discusses with authority and perspicacity the themes and aesthetic ideas of Salacrou, but his work does not go beyond Salacrou's prewar plays. Serge Radine's Anouilh, Lenor­ mand, Salacrou, trois dramaturges a la recherche de leur verite presents an excellent analysis of the philosophical content of Sala­ crou's plays. Pierre-Henri Simon, in his Theatre et destin, investi­ gates Salacrou's ideas and religious themes. Paul-Louis Mignon's Salacrou is a comprehensive analysis, with ample biographical and bibliographical material. All these major critical works and the multitude of shorter studies neglect to treat, beyond cursory remarks, the highly interesting relationship between form and content in Salacrou's plays. The present study is an attempt to satisfy that need for a more detailed analysis. To some degree, Salacrou's work defies neat pigeonholing and labeling. A chronological approach, in regard to the form, is not very revealing. Certain favorite philosophical themes are constantly touched upon, from the first dramatic works to his last play to date. But along with this subjective content, which remains con­ stant, Salacrou's work shows important shifts of emphasis and focus directly related to his personal experiences or to changes in the political and intellectual ambiance. Salacrou's literary debut, sub­ jective and introspective, has little social or psychological bearing. But as the author, dissatisfied with the lack of success, begins to experiment with different aesthetic molds, objective realities take on more relief. His plays become more and more impregnated with the preoccupations of a moralist who contemplates the social scene with growing concern. First the social criticism is presented as a somewhat extraneous matter; later the subjective philosophical content becomes vignettes to the social and moral themes. The political realities and their changes in time have also contributed their share to Salacrou's theater. The prewar rise of dictatorships is first only symbolically alluded to in one of his plays written shortly before the war. The problems of freedom that Frenchmen faced under the Occupation are thinly veiled under historical disguise in a vaudeville. Salacrou's best play, Les Nuits de la colere, is based on an actual tragedy of a Resistance saboteur. Other plays, dating from the postwar period, offer the author's comment on the intel­ lectual Zeitgeist, i.e., Existentialism. A later period of Salacrou's Introduction / 3 work shows the author's satirizing attitudes toward his own obses­ sions. With these developments and shifts, with this varying rela­ tion between the subjective content and the impact from the out­ side, Salacrou's work can best be evaluated by being placed in the context of the political events and changes in the intellectual atmosphere that have influenced these thematic evolutions. Because of the ever present personality of the author, biographi­ cal details corroborate what is found in his work and help explain certain themes and ideas. Compared to Jean Anouilh, who, in answer to a request for biographical details, had declared: "Je n'ai pas de biographie, et fen suis tres content,"! Salacrou has volun­ teered a wealth of information about himself. He has published a book of memoirs, Les I dies de fa nuit. His plays are accompanied by notes and postscripts which contain bits of news of autobio­ graphical interest, his own criticism, or reviews by critics. Quite obligingly he has cut out the work for his interpreters by describing his most important childhood experiences, his youthful fervor, his early aspirations and hopes. And yet there appears to be an instinc­ tive desire on the part of the author to surround himself with anonymity. All these memoirs and notes disclose what is directly related to his work. Beyond that, Salacour seems to resent any invasion into his privacy. "A vouloir expliquer l'ceuvre par l'homme, on defigure l'ceuvre."2 In this study, primarily concerned with Sala­ crou's work, biographical data important and relevant to the analy­ sis of his work are given along with the discussions of the plays. No doubt the author's life, presented in this manner, has little con­ tinuity. But the work and the personality behind it will attain, it is hoped, more cohesion. 1/ The Genesis of a Dramatist MAND SALACROU'S work is a kind of travelogue of his Odys­ sey, where, among his conclusions about man's presence A on the earth, the author records also his personal expe­ riences. It is through art that Salacrou seeks to communicate and clarify his search for an explanation of man's predicament. It is through art that the young man of sixteen attempted to allay his anguish and to escape his solitude in the fraternal community of his fellow men. The points of origin of the themes that persist in Salacrou's plays can be plotted along the path of his childhood and youth. "J'ai traverse ma vie, enveloppe dans Ie souvenir de mon ,enfance, et com bien de mes actions, incomprehensibles ames proches n'ont ete que des cadeaux que faisait en passant l'homme que je suis devenu a l'enfant que j'ai ete, cet enfant qui m'a toute rna vie accompagne avec tant de surprises et de dechirement."s Armand Salacrou was born on August 9, 1899, in Rouen. When he was three years old his parents moved to Le Havre. Le Havre has remained for Salacrou the city of his dearest childhood memories. Among his early impressions, Salacrou recalls an awareness of death that suddenly seized the little boy one evening as he was contem­ plating hortensias in the rain. "C'est Ia OU j'ai eu Ie sentiment de la mort, non pas de ma mort personnelle, mais de la mort en general, Et j'ai trouve cela absolument revoltant, et je n'en suis jamais revenu; d'aiIleurs, si je n'avais pas eu cette revolte devant la mort, je crois que j'aurais fait une carriere politique."4 This theme of a child's cognizance of death and his own existence appears in many of Salacrou's plays.
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