%0 Journal Article
%T L¡¯Amleto d¡¯Arrigo Boito : deux versions ¨¦nigmatiques avec Ducis et Dumas en dialogue Arrigo Boito¡¯s Amleto: Two Enigmatic Versions Reversing Ducis and Changing Dumas
%A Costantino Maeder
%J Revue LISA / LISA e-journal
%D 2011
%I Maison de la Recherche en Sciences Humaines
%R 10.4000/lisa.4308
%X Le XIXe si¨¨cle est caract¨¦ris¨¦ par la red¨¦couverte de Shakespeare. Cet article pr¨¦sente un exemple complexe de la r¨¦ception de Shakespeare en France et en Italie: Hamlet a ¨¦t¨¦ ¨¤ plusieurs reprises traduit et adapt¨¦ ¨¤ la sc¨¨ne et ¨¤ l¡¯op¨¦ra. Les traductions ¨¦taient pourtant loin d¡¯¨ºtre fid¨¨les, ce qui n¡¯¨¦tait par contre pas le cas en Allemagne, si l¡¯on pense ¨¤ la traduction toujours appr¨¦ci¨¦ des fr¨¨res Schlegel. Ducis, par exemple, pr¨¦sente une histoire tout ¨¤ fait incompatible avec le chef-d¡¯ uvre de Shakespeare. Aussi Dumas p¨¨re, bien qu¡¯aid¨¦ par un traducteur, ne suit pas du tout l¡¯original. Pourtant, ces deux versions, de m¨ºme que leurs autres traductions, conditionneront longtemps la r¨¦ception de Shakespeare dans les pays de l¡¯Europe latine. Arrigo Boito offrira une version tout ¨¤ fait autonome de l¡¯Amleto, une d¨¦s¨¦criture d¡¯auteur qui dialogue avec la version de Ducis, de Dumas, mais aussi avec les vraies traductions de Paul Meurice et de Fran ois-Victor Hugo. The 19th century is characterized by the rediscovery of Shakespeare. In this article, we will trace one complex example of Shakespeare¡¯s reception in France and in Italy. Hamlet had been translated and adapted for the stage and for the opera several times. However, from the very beginning of the 18th century, authors like Ducis simply rewrote from scratch totally unauthentic versions which (mis)guided most French and Italian reception of Shakespeare. In the 19th century, Dumas offered a new and far more interesting interpretation which would be even more seminal for Latin Europe. Arrigo Boito¡¯s Amleto dialogues in a rather astonishing and surprisingly modern way with the Dumas version of Hamlet, taking into account the more recent translations by Fran ois-Victor Hugo and Paul Meurice. As a result, the tragedy of the Danish prince is completely rewritten and deconstructed. As is often the case, Boito prefers to be the dwarf that sees farther than the giant, when he has the giant¡¯s shoulder to mount on. By slightly changing Shakespeare and Dumas and reversing Ducis he is able to offer a completely new, autonomous tragedy that probably owes more to Shakespeare than many other adaptations and translations, as was later to be the case for his Otello and Falstaff.
%K r¨¦¨¦criture
%K Hamlet
%K Amleto
%K Ducis
%K livret
%K traductions
%K Dumas Alexandre
%K Boito Arrigo
%K Hugo Fran ois-Victor
%K Meurice Paul
%K Shakespeare
%K rewriting
%K libretto
%K translations
%K XIXe si¨¨cle
%K 19th century
%K XVIIIe si¨¨cle
%K 18th century
%K op¨¦ra
%K traduction
%K d¨¦s¨¦criture
%K tragedy
%K translation
%K di-scrittura
%K trag¨¦die
%K France
%K Italie
%K G¨¨nes
%K Romanit¨¦
%K Italy
%K Genoa
%K Latin Europe
%U http://lisa.revues.org/4308