By Pierre Corneille

" Un héros qui s'éveille doit avoir los angeles splendeur d'un soleil levant " lisait-on dans un ouvrage anonyme publié à Madrid en 1637, l'année où fut créé Le Cid. Ce héros splendide, ce pourrait être Rodrigue, qui par un coup d'éclat et quelques coups d'épée triomphe de tous les stumbling blocks, clothes à lui tous les coeurs et s'élève au-dessus de los angeles loi commune. Mais ce héros pourrait aussi bien être Corneille, qui à l'aube de sa trente et unième année, avec Le Cid, s'affranchit de toutes les règles et s'affirme comme l'un des plus grands dramaturges de son siècle.

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Additional resources for Le Cid

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Locating the Early History of Performance Art’ — concerns the history of performance art in Wales in the 1960s and 1970s. Roms’ archival research for that project has been supplemented by a series of alternative, creative performance formats — which she terms ‘historio-dramaturgical’ — including re-enactments of past performances and staged oral history conversations. Through a consideration of such performative strategies, Roms concludes that all evidence is itself is both performative and collaborative in nature, ‘always the product of a scholarly performance, and not its pre-existing object of attention’.

Through a consideration of such performative strategies, Roms concludes that all evidence is itself is both performative and collaborative in nature, ‘always the product of a scholarly performance, and not its pre-existing object of attention’. In her discussion of what she argues are the twofold ethical implications of recognising and acknowledging that necessary performativity and collaboration in researching and recording performance histories, Roms introduces to an Englishspeaking readership the work of Sybille Peters.

That the most striking feature of Betterton’s Hamlet was, according to Cibber, his first encounter with the ghost points to something important not just about the impact he had in 1661, but about the profound sense of national and company heritage that suffused his life. The actor in company: the idea seems obvious enough, but the star system that makes individual performers such attractive biographical subjects can militate against studying them as components of the public and private identities of their immediate peers.

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