%0 Journal Article
%T Cadrage, d¨¦cadrage et recadrage dans Baa Baa Black Sheep : A Jungle Tale de David Malouf et Michael Berkeley Patrimonial Deconstruction and Reconstruction in David Malouf and Michael Berkeley¡¯s Baa Baa Black Sheep : A Jungle Tale
%A Jean-Philippe H¨¦berl¨¦
%J Revue LISA / LISA e-journal
%D 2011
%I Maison de la Recherche en Sciences Humaines
%R 10.4000/lisa.4431
%X This article discusses Michael Berkeley¡¯s first opera, Baa Baa Black Sheep: A Jungle Tale. Premiered under the baton of Paul Daniel on July 3rd 1993 at the Cheltenham International Festival of Music, this opera is based on two texts by Rudyard Kipling: The Jungle Books (1894-1895) and ¡°Baa, Baa, Black Sheep¡± from the short story collection Wee Willie Winkie and Other Stories, first published in 1888. The libretto was penned by the Australian poet, novelist, playwright and librettist, David Malouf. After a brief survey of some of the earliest transpositions of The Jungle Books, I analyse the way David Malouf deals with both texts. ¡°Baa Baa Black Sheep¡± is used as the central element of his libretto, and episodes and characters from The Jungle Books are incorporated to draw parallelism between the main topics of the two texts. Both Malouf¡¯s endeavour and Berkeley¡¯s, through the music, aims at deconstructing the preposterous oldest transpositions of The Jungle Books and at focusing on the key elements of Kipling¡¯s famous book, notably identity and hybridism, two important themes of colonial and postcolonial literature. The aim of David Malouf and Michael Berkeley is to address an adult audience and show that The Jungle Books are not only aimed at children as Disney¡¯s or Baden Powell¡¯s appropriations of the work could wrongly make us believe. Cet article porte sur Baa Baa Black Sheep: A Jungle Tale, le premier op¨¦ra de Michael Berkeley. Cr¨¦¨¦ au Everyman Theatre de Cheltenham le 3 juillet 1993 sous la direction de Paul Daniel, cette  uvre est le fruit de la collaboration entre le compositeur britannique et l¡¯¨¦crivain australien David Malouf. Le livret de Malouf se fonde sur deux r¨¦cits de Rudyard Kipling : la nouvelle autobiographique ¡°Baa, Baa, Black Sheep¡± auquel l¡¯op¨¦ra doit son nom et The Jungle Books. Apr¨¨s m¡¯¨ºtre int¨¦ress¨¦ aux premi¨¨res transpositions musicales de The Jungle books, je montre comment Malouf utilise la nouvelle pour encadrer ¨Cau sens litt¨¦ral du terme ¨C des ¨¦l¨¦ments extraits de The Jungle Books. Le but de Berkeley et de Malouf est de d¨¦construire les adaptations et r¨¦¨¦critures du c¨¦l¨¨bre ouvrage de l¡¯¨¦crivain anglais qui ont pr¨¦c¨¦d¨¦ leur op¨¦ra en ancrant leur propre r¨¦¨¦criture autour de l¡¯identit¨¦ et de l¡¯hybridit¨¦, deux th¨¨mes centraux dans le livre de Kipling ainsi que dans la litt¨¦rature coloniale et postcoloniale. Contrairement aux reprises ou r¨¦appropriations de l¡¯histoire par Disney et Baden Powell, qui pourraient nous faire penser, ¨¤ tort, que l¡¯ouvrage ne s¡¯adresse qu¡¯aux enfants, l¡¯op¨¦ra de Malouf et de Berkeley vise donc avant
%K identit¨¦
%K intertextualit¨¦
%K r¨¦¨¦criture
%K colonialisme
%K hybridit¨¦
%K patrimoine
%K post-colonialisme
%K tonalit¨¦
%K atonalit¨¦
%K modalit¨¦
%K identity
%K intertextuality
%K rewriting
%K colonialism
%K hybridity
%K heritage
%K post-colonialism
%K tonality
%K atonality
%K modality
%K XXe si¨¨cle
%K 20th century
%K musique
%K op¨¦ra
%K r¨¦¨¦critures
%K Royaume-Uni
%K music
%K rewriting
%K United Kingdom
%U http://lisa.revues.org/4431