La Passion du théâtre: Camus à la scène La Passion du théâtre: Camus à la scène. Sous la direction de S <scp>ophie</scp> B <scp>astien</scp> , G <scp>eraldine</scp> F. M <scp>ontgomery</scp> et M <scp>ark</scp> O <scp>rme</scp> . (Faux titre, 365). Amsterdam: Rodopi, 2011. 236 pp.
Bibliographic record
Abstract
This stimulating volume groups fourteen essays by eminent Camus specialists under four subdivisions: ‘L’Œuvre dramatique de Camus', ‘Camus, praticien de théâtre’, ‘La Fortune scénique de Camus en France’, and ‘La Fortune scénique de Camus à l’étranger'. Sophie Bastien introduces the study with a grandiose claim for Camus's theatre. After conceding that it has never been considered aesthetically revolutionary, and noting that no play by Camus finds a place among the one hundred and thirty in Michel Corvin's Anthologie critique des auteurs dramatiques européens (1945–2000) (Paris: SCEREN-CNDP, 2007), she affirms: ‘Pourtant, dans le champ de la pratique théâtrale, il connaît une popularité extraordinaire et toujours grandissante’ (p. 11). She thus creates an awesome challenge for her collaborators, rising to it herself in her own chapter — albeit with an adaptation of his fiction — ‘Adaptation théâtrale de La Peste au Québec’. Performances of Camus were rare in francophone Canada before 1993, but since then Le Malentendu, Caligula, and Les Justes have been enthusiastically received, particularly by young audiences. More than on the original plays, she focuses on Mario Borges's adaptation of La Peste, clearly a spectacle as imaginative as it was courageous: Borges makes Father Paneloux a representative of the hardline Québecois ‘Église obscurantiste et sclérosée, aveugle devant de grands problèmes sociaux’ (p. 193), with the plague being updated and assimilated to AIDS. In Russia too, Camus got off to a late start: Caligula in 1998, preceded only by Requiem pour une nonne in the 1970s. Since then, sadly but perhaps predictably in the era of Putin and the Chechen rebellion, he has been appropriated politically. Eugène Kouchkine informs us that Kaliayev and comrades, in a 2003 Moscow production ‘[qui frôle] la vulgarité d'une farce excentrique’ (p. 222), have been assimilated to loutish, vodka-drinking terrorists prepared to kill at random, hence the cynical inverted commas of Les ‘Justes’ (in the Russian translation of the title). Equally informative in the ‘fortune scénique’ half of the volume is Vincent Siano's account of his ambition to put on the whole of Camus's theatrical work — not excluding L'État de siège, it would seem (p. 169) — as part of a youth education programme. Courageous furthermore in that he invites (to Lourmarin no less!) des jeunes en difficulté dont beaucoup d'origine maghrébine. Mark Orme confirms that student productions, in the UK as elsewhere, will always be a way in which the theatre will survive, and quality professional productions of Les Justes and Caligula occur at regular intervals. Lydie Parisse argues persuasively that even Le Malentendu can be made to work, given an immense input of technical invention, as in Montpellier in 2009. It falls appropriately to the doyen, Raymond Gay-Crosier, to explain how the plays and their many variants have been handled in the new Pléiade complete works. His Annexe II lists two unpublished plays, Antoine Bailly: l'impromptu des philosophes and (for radio) Les Silences de Paris (mentioned also by Bastien in her Introduction, but in a mere footnote). An essay about them is all that this thoroughly useful volume lacks.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.001 |
| Science and technology studies | 0.006 | 0.007 |
| Scholarly communication | 0.009 | 0.006 |
| Open science | 0.001 | 0.003 |
| Research integrity | 0.002 | 0.003 |
| Insufficient payload (model declined to judge) | 0.026 | 0.003 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".