The Perils of Authorship in Le voyageur sans bagage
Despite its respectable history in performance, Anouilh's Le voyageur salis bagage has received little critical attention. Regarded as Anouilh's first mature play, Le voyageur sans bagage is seen as heralding the existential themes of Anouilh's greater theater. Perhaps critical neglec...
| Main Author: | |
|---|---|
| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
University of Toronto Press
1986
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| In: |
Modern drama
Year: 1986, Volume: 29, Issue: 4, Pages: 601-612 |
| Further subjects: | B
Girard, René (1923-2015)
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| Online Access: |
Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
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| 520 | |a Despite its respectable history in performance, Anouilh's Le voyageur salis bagage has received little critical attention. Regarded as Anouilh's first mature play, Le voyageur sans bagage is seen as heralding the existential themes of Anouilh's greater theater. Perhaps critical neglect of the play has had to do with the historical position of this between-wars drama. Focused on the restless specter of the First World War, the 1937 Voyageur sans bagage appeared too late, too close to the outbreak of the Second World War, to be relevant in an immediate political sense. Anouilh's later productions, particularly Antigone, were a more satisfactory response to the overwhelming turmoil of Europe. Yet in a film like Renoir's La grande illusion, which was released at the same time as the first performance of Le voyageur sans bagage, World War I becomes an enduring and timely reflection on a past that presages, especially in the irony of the title, the greater horrors to come. Thus, it might seem odd that this play has not attracted more critical notice , even after a brief revival of performances and study during the sixties in the United States. | ||
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