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Théâtre Et Libertinage Dans Les Liaisons Dangereuses : Du Roman À L’Écran

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Théâtre Et Libertinage Dans Les Liaisons Dangereuses : Du Roman À L’Écran MARISTELA GONÇALVES SOUSA MACHADO Théâtre et libertinage dans Les Liaisons dangereuses : du roman à l’écran PORTO ALEGRE DEZEMBRO DE 2005 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ÁREA DE LITERATURAS FRANCESA E FRANCÓFONAS Théâtre et libertinage dans Les Liaisons dangereuses : du roman à l’écran MARISTELA GONÇALVES SOUSA MACHADO Tese apresentada ao Programa de Pós-Graduação em Letras da UFRGS, como requisito final para obtenção do grau de Doutor em Letras, área de Literaturas Francesa e Francófonas. ORIENTADOR PROF. DR. ROBERT PONGE PORTO ALEGRE DEZEMBRO DE 2005 Agradecimentos Ao Prof. Dr. Robert Ponge, que há muito acompanha a reflexão apresentada nesse trabalho com rigor e generosidade, pela orientação e pelo exemplo admirável – e consistente – de integridade. Ao quadro de professores de Literaturas Francesa e Francófonas, aos professores-visitantes da UQUAM e aos funcionários da Pós-graduação do Instituto de Letras da Universidade Federal do Rio Grande do Sul, em especial a Canísio Scher. Ao CNPQ pela concessão de bolsa de estudos. Ao Prof. Dr. João Manuel dos Santos Cunha, pelo diálogo sempre renovado sobre as letras e as imagens, pelas referências bibliográficas. À Profa Dra Zila Bernd por seu incentivo constante às minhas atividades acadêmicas. A Maria Laura Maciel Alves, Isabella Mozzillo, Nubia Hanciau, Ângela Bignami, Luiz Trigo, Douglas Consolo e Regina Xavier pela interlocução profissional e afetiva. Aos meus professores da Aliança Francesa de Campinas, especialmente a Ana Célia Bressani, Dirce Biojone, Elizabeth Segurado, Johanna Steverlynck, Roger Thévenot e Mára Faury que compartilharam comigo seus conhecimentos e sua paixão pela língua e literatura francesas. Ao Aluísio, por estar sempre ao meu lado e formatar as imagens do biotério, da eletroforese, dos textos, dos filmes e dos meus sonhos, dedico esse trabalho. Table des matières Agradecimentos........................................................................................................... iii Table des matières ...................................................................................................... iv Résumé ................................................................................................................. vii Resumo ................................................................................................................ viii Introduction................................................................................................................... 1 Chapitre 1 Sur Les Liaisons dangereuses de Laclos, roman du XVIIIe siècle : une entrée en matière................................................................................................... 7 1.1 Le roman et la république des lettres au XVIIIe siècle ................................................... 8 1.1.1 Le théâtre .................................................................................................................... 10 1.1.2 Le roman ..................................................................................................................... 11 1.2 Le roman épistolaire ....................................................................................................... 14 1.3 Le roman libertin.............................................................................................................. 22 1.4 L’auteur et son seul roman............................................................................................. 27 Chapitre 2 Les Liaisons dangereuses de Laclos et le théâtre ............................. 33 2.1 Emprunt, échange, badinage, création : le dialogue entre Les Liaisons dangereuses et la littérature............................................................................................................................ 33 2.2 Le roman épistolaire : la scène tournante des lettres ................................................. 44 2.3 La mise en scène de la fiction au seuil du roman : l´Avertissement de l’Éditeur et la Préface du Rédacteur ............................................................................................................... 51 2.4 Le mépris des codes romanesques ou la défense du roman en trompe-l’œil.......... 60 2.4.1 Réquisitoire factice ou plaidoyer masqué ? ................................................................ 65 2.5 Les Liaisons dangereuses et la scène .......................................................................... 70 2.5.1 La théâtralité dans le roman : reflets changeants....................................................... 71 2.5.2 Portraits : à la recherche d’une image des héroïnes des Liaisons dangereuses ....... 82 2.5.3 Des décors aux contours estompés : l’espace de la mondanité dans Les Liaisons dangereuses ........................................................................................................................... 92 2.5.4 Sur quelques marques du temps dans Les Liaisons dangereuses .......................... 101 2.6 Libertinage et théâtralité : Valmont et Merteuil sur la scène .................................... 107 2.6.1 Le théâtre, et la vanité et l’ennui ............................................................................... 108 2.6.2 Le grand théâtre du monde et le monde du grand théâtre ....................................... 111 2.6.3 Le masque et le libertinage....................................................................................... 114 v 2.6.4 Le Paradoxe du comédien et le paradoxe du libertin ............................................... 118 Chapitre 3 Réécritures du roman : l’alchimie théâtrale et cinématographique 128 3.1 L’adaptation théâtrale du roman.................................................................................. 136 3.2 Dialogue et froissements entre littérature et cinéma : lire des images, voir des mots ......................................................................................................................................... 142 3.3 Théâtre et cinéma : la parole fugace et l’image définitive......................................... 149 Chapitre 4 Les Liaisons dangereuses (1985) : les duels verbaux de Christopher Hampton ............................................................................................................... 154 4.1 Les libertins de Laclos entrent en scène : les adaptations théâtrales des Liaisons dangereuses ............................................................................................................................ 155 4.2 Christopher Hampton – traducteur, adaptateur, auteur – invente ses liaisons dangereuses ............................................................................................................................ 157 4.3 Ouverture et finale des Liaisons dangereuses (1985) : les dames jouent aux lettres, Merteuil est à la tête du jeu .................................................................................................... 162 4.4 Les espaces clos, le temps pressant : l’univers obscur des personnages en conflit . ......................................................................................................................................... 164 4.5 Les libertins à l’heure du thé........................................................................................ 170 4.6 La comédie des libertins : la mise en scène remplace la lettre................................ 173 4.6.1 Qu’a-t-on fait des lettres ? Les héros mûs par l’éloquence ...................................... 175 4.6.2 Les didascalies dévoilent le jeu du libertin................................................................ 180 4.7 Le chant des oiseaux et le libertin racheté ................................................................. 186 4.8 Les Liaisons dangereuses et la politique ................................................................... 195 Chapitre 5 Dangerous Liaisons (1988) : le jeu des libertins de Laclos dévoilé par l’objectif de Stephen Frears..................................................................................... 201 5.1 Les liaisons téméraires : un film étasunien, un réalisateur anglais inconnu, une histoire passée au XVIIIe siècle français............................................................................... 202 5.2 Les liaisons insoupçonnées : Frears et Laclos.......................................................... 207 5.3 De la scène à l’écran ..................................................................................................... 211 5.4 Espace, temps, personnages : de l’écrit à l’écran ..................................................... 215 5.5 Entrées, arrivées, réveils, irruption de la lumière : les ouvertures filmiques ......... 222 5.6 Description de l’ouverture de Dangerous Liaisons (1988) de Stephen Frears ....... 225 5.7 Les images silencieuses de Stephen Frears : les acteurs se préparent à entrer en scène ........................................................................................................................................ 230 5.8 Le respect à la lettre (à l’épistolarité) et à l’esprit (de la théâtralité)........................ 238 vi 5.9 La clôture en images : les réminiscences et le sang de Valmont ; le faux pas et le masque jeté par la Marquise .................................................................................................. 245 Conclusion ..............................................................................................................
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