![\"\"](\"https:\/\/laregledujeu.org\/arrabal\/files\/2018\/11\/download-3.jpg\")
<\/a>\u00a0PICNIC ON THE BATTLEFIELD<\/p>\n<\/a>\u00a0PICNIC ON THE BATTLEFIELD<\/p>\n
Translation: Barbara Wright (R\u00e9gent du Coll\u00e8ge de ‘Pataphysique en\u00a0<\/em>Zozologie Shakespearienne & The Times Literary Supplement)<\/p>\n Dionysus Theatre\u00a0 \u00a0Australia<\/p>\n ZAPO\u00a0– a soldier<\/p>\n MONSIEUR TEPAN\u00a0– the soldier’s father<\/p>\n \u00a0\u00a0\u00a0 \u201cFernando Arrabal (Melilla, 1932), bien \u00a0qu\u2019il soit\u00a0 l\u2019un de cr\u00e9ateurs les plus controvers\u00e9s d\u2019aujourd\u2019hui, a re\u00e7u\u00a0:\u00a0<\/em><\/p>\n le\u00a0Pasolini<\/u>\u00a0de cin\u00e9ma,\u00a0<\/em>\u00ab\u00a0\u2026 fou, brutal, clinquant, joyeusement provocateur. Un potlatch dramaturgique o\u00f9 la carcasse de nos soci\u00e9t\u00e9s \u00ab\u00a0avanc\u00e9es\u00a0\u00bb se trouve carbonis\u00e9e sur la rampe festive d’une r\u00e9volution permanente. Arrabal \u00a0h\u00e9rite de la lucidit\u00e9 d’un Kafka et de l’humour d’un Jarry; il s’apparente, dans sa violence, \u00e0 Sade ou \u00e0 Artaud. Mais il est sans doute le seul \u00e0 avoir pouss\u00e9 la d\u00e9rision aussi loin. Profond\u00e9ment politique et joyeusement ludique, r\u00e9volt\u00e9e et boh\u00e8me, elle est le syndrome de notre si\u00e8cle de barbel\u00e9s et de goulags\u00a0: une fa\u00e7on de se maintenir en sursis.\u00a0\u00bb\u201d \u00a0Dictionnaire des litt\u00e9ratures\u00a0(\u00c9ditions Bordas)\u00a0<\/strong>Paris<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cLe tragique destin de son p\u00e8re a marqu\u00e9 l\u2019auteur d\u2019une lumi\u00e8re morale qui est la mati\u00e8re m\u00eame de son art\u00a0\u00bb:\u00a0Vicente Aleixandre.<\/strong><\/em><\/p>\n \u00a0 \u00a0 \u00a0 \u00a0\u00ab\u00a0Chaque texto que vous recevez de Fernando Arrabal est un po\u00e8me.\u00a0Et si un jour vous tombez sur sa messagerie, c\u2019est un festin. Tout\u00a0ce qu\u2019il touche, il lui donne de la gr\u00e2ce\u00a0\u00bb.\u00a0L\u00e9onore Chastagner.<\/strong><\/em><\/p>\n \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00ab\u00a0Il est le seul survivant des quatre avatars de la modernit\u00e9: dada, surr\u00e9alisme, pataphysique et panique\u201d:\u00a0Mel Gussow,\u00a0<\/strong>The New York Times.<\/em><\/p>\n \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00ab\u00a0M\u00eame s\u2019il d\u00e9fie\u00a0\u00a0 Franco ou Castro, (Lettre au g\u00e9n\u00e9ral Franco<\/u>, 1972;\u00a0Lettre \u00e0\u00a0<\/u>Fidel Castro<\/u>, 1983) Arrabal n\u2019est pas\u00a0 un \u2018contestataire\u2019, ni un pr\u00e9dicateur militant: c\u2019est un homme qui joue. L\u2019art, comme il le con\u00e7oit, \u00a0est un jeu. El le monde se transforme en un jeu quand il le touche\u201d:\u00a0Milan Kundera<\/strong><\/em><\/p>\n \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00ab\u00a0<\/em><\/strong>Arrabal est passionn\u00e9 par la peinture, le jeu d\u2019\u00e9checs, les masques africains, et la rigueur math\u00e9matique du tohu-bohu\u00a0\u00bb:\u00a0Mich\u00e8le Reulle.\u00a0<\/strong><\/em><\/p>\n <\/p>\n\n\n\n\n\n\nMADAME TEPAN\u00a0– the soldier’s mother<\/div>\n<\/div>\nZEPO\u00a0– an enemy soldier<\/div>\n<\/div>\nFIRST STRETCHER BEARER<\/div>\n<\/div>\nSECOND STRETCHER BEARER .\u00a0 \u00a0 \u00a0 \u00a0In the war zone a solitary soldier’s scared stiff. His parents come in to share a picnic basket with him. A frightened enemy soldier is captured though no one knows what to do with him. There’s an air raid – while the parents continue talking. They then devise a way for ending the war – telling the ruling powers the ranks don’t like to play at war anymore. It’s a marvelously simple solution and would work – except a machine gun suddenly silences them and their idea.\u00a0 \u00a0Picnic on the Battlefield\u00a0<\/em>is published in the collection Guernica and Other Plays\u00a0 (Grove Press)<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n![\"\"](\"https:\/\/laregledujeu.org\/arrabal\/files\/2018\/11\/images-1.jpg\")
<\/a>***<\/h3>\n\n\n\n\n\n\n![\"\"](\"https:\/\/laregledujeu.org\/arrabal\/files\/2018\/11\/images-3.jpg\")
<\/a><\/p>\n\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\nFirst premiered on\u00a0Th\u00e9\u00e2tre de Lut\u00e8ce on April 25, 1959.<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n
Good or bad, an experience is always valuable because great art inspires diverse opinions. That’s why we call our customer reviews \u00ab\u00a0experiences.\u00a0\u00bb We welcome you to share yours.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n\n
Fernando Arrabal is well known as a filmmaker; his first film,\u00a0Viva la muerte<\/em>(1971), is still considered to be his finest work in that medium.\u00a0J. L. Borges: Una Vida de Poes\u00eda<\/em>\u00a0was released in 1998. He has also written a number of novels and a series of \u201ccartas\u201d (letters) to Spanish and International political leaders such as Francisco Franco, the king of Spain, Fidel Castro, and several Spanish prime ministers. Arrabal commissioned numerous paintings that conform to his design, published a book of photographs of New York City, and has written books as well as a regular column in\u00a0L\u2019Express<\/em>\u00a0on the game of chess. Arrabal has directed a number of his own plays around the world.<\/p>\n<\/div>\n<\/div>\n<\/section>\n\n\n\n
Although Fernando Arrabal\u2019s theater has\u00a0 his reputation as an important, innovative avant-garde dramatist has been clearly established. Helped attract an audience and soon made him the most performed playwright in Paris. Combining a Spanish temperament and sense of black humor with innovative techniques reflective of the artistic ambience of Paris, Arrabal has become the first Spanish playwright since Federico Garc\u00eda Lorca to earn worldwide recognition. His contributions to the theater were summed up by Clive Barnes in a review of The Architect ans the Emperor of Assyria in\u00a0The New York Times<\/em>:Mr. Arrabal, with his perceptions, loves and understanding, is a playwright to be honored, treasured and understood. In this play he is saying something about the isolation, the solitariness and the need of twentieth century man that, so far as I can see, no other playwright has quite gotten on stage before.<\/p>\n
Arrabal has received a number of major awards. He received the prestigious Premio Nadal in 1984 for his novel\u00a0La torre herida por el rayo<\/em>\u00a0(1983;\u00a0The Tower Struck by Lightning<\/em>, 1988) and the Espasa Calpe award in 1994 for his collection of essays\u00a0La dudosa luz del d\u00eda<\/em>. He was awarded the Premio Nacional de Teatro in Spain in 2001. In 2001, when tradition dictated that the Premio Cervantes go to a Latin American writer, he received the most votes of any Spaniard.<\/p>\n<\/div>\n<\/div>\n<\/section>\n\n\n\n\n\n
Arata, Luis Oscar.\u00a0The Festive Play of Fernando Arrabal<\/em>. Lexington: University of Kentucky Press, 1982. Examines Arrabal\u2019s theater from the point of view of play, focusing on Piaget\u2019s concept of game playing and on episodic theater.<\/p>\n
Donahue, Thomas John.\u00a0The Theater of Fernando Arrabal: A Garden of Earthly Delights<\/em>. New York: New York University Press, 1980. A general overview of Arrabal\u2019s theater, emphasizing the influence of the \u201chappening,\u201d of street and guerrilla theater, and the creative use of playing space.<\/p>\n
Arrabal Espace<\/em>. Paris: Paris Art Center, 1993. A coffee table work written in French with numerous color photographs and a number of essays on Arrabal\u2019s work in various genres. An invaluable source of production photos, Arrabal\u2019s paintings, and numerous other images of his life and work.<\/p>\n
Orenstein, Gloria. \u201cA Surrealist Theater Tractate: Fernando Arrabal.\u201d In\u00a0The Theater of the Marvelous<\/em>. New York: New York University Press, 1975. An analysis of Arrabal\u2019s theater as a manifestation of Surrealism based on alchemy. Explores the influence of Andr\u00e9 Breton, Salvador Dali, and Antonin Artaud on Arrabal\u2019s work.<\/p>\n
Podol, Peter.\u00a0Fernando Arrabal<\/em>. Boston: Twayne, 1978. A comprehensive biography and analysis of all of Arrabal\u2019s work up to the date of publication, it is intended as an introduction to the playwright and contains brief analyses of all of his dramas prior to 1978.<\/p>\n
Schumacher, Claude. \u201cArrabal\u2019s Theatre of Liberation.\u201d In\u00a0Twentieth Century European Drama<\/em>, edited by Brian Docherty. New York: St. Martin\u2019s Press, 1994. A good overview.<\/p>\n
Torres Monreal, Francisco. \u201cIntroducci\u00f3n.\u201d In\u00a0Teatro completo<\/em>. Madrid: Espasa Calpe, 1997. A lengthy introduction to the two-volume edition of Arrabal\u2019s theater in Spanish, it provides an excellent overview of the evolution of Arrabal\u2019s work for the theater etc.![\"\"](\"https:\/\/laregledujeu.org\/arrabal\/files\/2018\/11\/images-2.jpg\")
<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/article>\n<\/section>\n","protected":false},"excerpt":{"rendered":"\u00a0Fernando Arrabal ("Picnic on the battlefield) traduction de Barbara Wright:\u00a0 Dionysus Theatre\u00a0 \u00a0Australia. - Ceci n\u2019est pas un blog<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/laregledujeu.org\/arrabal\/2018\/11\/13\/9730\/fernando-arrabal-picnic-on-the-battlefield-traduction-de-barbara-wright-dionysus-theatre-australia\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00a0Fernando Arrabal ("Picnic on the battlefield) traduction de Barbara Wright:\u00a0 Dionysus Theatre\u00a0 \u00a0Australia. - Ceci n\u2019est pas un blog\" \/>\n<meta property=\"og:description\" content=\"\u00a0PICNIC ON THE BATTLEFIELD Translation: Barbara Wright (R\u00e9gent du Coll\u00e8ge de ‘Pataphysique en\u00a0Zozologie Shakespearienne & The Times Literary Supplement) Dionysus Theatre\u00a0 \u00a0Australia ZAPO\u00a0– a soldier MONSIEUR TEPAN\u00a0– the soldier’s father MADAME TEPAN\u00a0– the soldier’s mother ZEPO\u00a0– an enemy soldier FIRST STRETCHER BEARER SECOND STRETCHER BEARER .\u00a0 \u00a0 \u00a0 \u00a0In the war zone a solitary soldier’s scared stiff. His parents come in to share a picnic basket with him. A frightened enemy soldier is captured though no one knows what to do with him. There’s an air raid – while the parents continue talking. They then devise a way for ending the war – telling the ruling powers the ranks don’t like to play at war anymore. It’s a marvelously simple solution and would work – except a machine gun suddenly silences them and their idea.\u00a0 \u00a0Picnic on the Battlefield\u00a0is published in the collection Guernica and Other Plays\u00a0 (Grove Press) *** \u00a0\u00a0\u00a0 \u201cFernando Arrabal (Melilla, 1932), bien \u00a0qu\u2019il soit\u00a0 l\u2019un de cr\u00e9ateurs les plus controvers\u00e9s d\u2019aujourd\u2019hui, a re\u00e7u\u00a0:\u00a0 le\u00a0Pasolini\u00a0de cin\u00e9ma,\u00a0\u00ab\u00a0\u2026 fou, brutal, clinquant, joyeusement provocateur. Un potlatch dramaturgique o\u00f9 la carcasse de nos soci\u00e9t\u00e9s \u00ab\u00a0avanc\u00e9es\u00a0\u00bb se trouve carbonis\u00e9e sur la rampe festive d’une r\u00e9volution permanente. Arrabal \u00a0h\u00e9rite de la lucidit\u00e9 d’un Kafka et de l’humour d’un Jarry; il s’apparente, dans sa violence, \u00e0 Sade ou \u00e0 Artaud. Mais il est sans doute le seul \u00e0 avoir pouss\u00e9 la d\u00e9rision aussi loin. Profond\u00e9ment politique et joyeusement ludique, r\u00e9volt\u00e9e et boh\u00e8me, elle est le syndrome de notre si\u00e8cle de barbel\u00e9s et de goulags\u00a0: une fa\u00e7on de se maintenir en sursis.\u00a0\u00bb\u201d \u00a0Dictionnaire des litt\u00e9ratures\u00a0(\u00c9ditions Bordas)\u00a0Paris \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cLe tragique destin de son p\u00e8re a marqu\u00e9 l\u2019auteur d\u2019une lumi\u00e8re morale qui est la mati\u00e8re m\u00eame de son art\u00a0\u00bb:\u00a0Vicente Aleixandre. \u00a0 \u00a0 \u00a0 \u00a0\u00ab\u00a0Chaque texto que vous recevez de Fernando Arrabal est un po\u00e8me.\u00a0Et si un jour vous tombez sur sa messagerie, c\u2019est un festin. Tout\u00a0ce qu\u2019il touche, il lui donne de la gr\u00e2ce\u00a0\u00bb.\u00a0L\u00e9onore Chastagner. \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00ab\u00a0Il est le seul survivant des quatre avatars de la modernit\u00e9: dada, surr\u00e9alisme, pataphysique et panique\u201d:\u00a0Mel Gussow,\u00a0The New York Times. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00ab\u00a0M\u00eame s\u2019il d\u00e9fie\u00a0\u00a0 Franco ou Castro, (Lettre au g\u00e9n\u00e9ral Franco, 1972;\u00a0Lettre \u00e0\u00a0Fidel Castro, 1983) Arrabal n\u2019est pas\u00a0 un \u2018contestataire\u2019, ni un pr\u00e9dicateur militant: c\u2019est un homme qui joue. L\u2019art, comme il le con\u00e7oit, \u00a0est un jeu. El le monde se transforme en un jeu quand il le touche\u201d:\u00a0Milan Kundera \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00ab\u00a0Arrabal est passionn\u00e9 par la peinture, le jeu d\u2019\u00e9checs, les masques africains, et la rigueur math\u00e9matique du tohu-bohu\u00a0\u00bb:\u00a0Mich\u00e8le Reulle.\u00a0 First premiered on\u00a0Th\u00e9\u00e2tre de Lut\u00e8ce on April 25, 1959. Good or bad, an experience is always valuable because great art inspires diverse opinions. That’s why we call our customer reviews \u00ab\u00a0experiences.\u00a0\u00bb We welcome you to share yours. Fernando Arrabal is well known as a filmmaker; his first film,\u00a0Viva la muerte(1971), is still considered to be his finest work in that medium.\u00a0J. L. Borges: Una Vida de Poes\u00eda\u00a0was released in 1998. He has also written a number of novels and a series of \u201ccartas\u201d (letters) to Spanish and International political leaders such as Francisco Franco, the king of Spain, Fidel Castro, and several Spanish prime ministers. Arrabal commissioned numerous paintings that conform to his design, published a book of photographs of New York City, and has written books as well as a regular column in\u00a0L\u2019Express\u00a0on the game of chess. Arrabal has directed a number of his own plays around the world. Although Fernando Arrabal\u2019s theater has\u00a0 his reputation as an important, innovative avant-garde dramatist has been clearly established. Helped attract an audience and soon made him the most performed playwright in Paris. Combining a Spanish temperament and sense of black humor with innovative techniques reflective of the artistic ambience of Paris, Arrabal has become the first Spanish playwright since Federico Garc\u00eda Lorca to earn worldwide recognition. His contributions to the theater were summed up by Clive Barnes in a review of The Architect ans the Emperor of Assyria in\u00a0The New York Times:Mr. Arrabal, with his perceptions, loves and understanding, is a playwright to be honored, treasured and understood. In this play he is saying something about the isolation, the solitariness and the need of twentieth century man that, so far as I can see, no other playwright has quite gotten on stage before. Arrabal has received a number of major awards. He received the prestigious Premio Nadal in 1984 for his novel\u00a0La torre herida por el rayo\u00a0(1983;\u00a0The Tower Struck by Lightning, 1988) and the Espasa Calpe award in 1994 for his collection of essays\u00a0La dudosa luz del d\u00eda. He was awarded the Premio Nacional de Teatro in Spain in 2001. In 2001, when tradition dictated that the Premio Cervantes go to a Latin American writer, he received the most votes of any Spaniard. Arata, Luis Oscar.\u00a0The Festive Play of Fernando Arrabal. Lexington: University of Kentucky Press, 1982. Examines Arrabal\u2019s theater from the point of view of play, focusing on Piaget\u2019s concept of game playing and on episodic theater. Donahue, Thomas John.\u00a0The Theater of Fernando Arrabal: A Garden of Earthly Delights. New York: New York University Press, 1980. A general overview of Arrabal\u2019s theater, emphasizing the influence of the \u201chappening,\u201d of street and guerrilla theater, and the creative use of playing space. Arrabal Espace. Paris: Paris Art Center, 1993. A coffee table work written in French with numerous color photographs and a number of essays on Arrabal\u2019s work in various genres. An invaluable source of production photos, Arrabal\u2019s paintings, and numerous other images of his life and work. Orenstein, Gloria. \u201cA Surrealist Theater Tractate: Fernando Arrabal.\u201d In\u00a0The Theater of the Marvelous. New York: New York University Press, 1975. An analysis of Arrabal\u2019s theater as a manifestation of Surrealism based on alchemy. Explores the influence of Andr\u00e9 Breton, Salvador Dali, and Antonin Artaud on Arrabal\u2019s work. Podol, Peter.\u00a0Fernando Arrabal. Boston: Twayne, 1978. A comprehensive biography and analysis of all of Arrabal\u2019s work up to the date of publication, it is intended as an introduction to the playwright and contains brief analyses of all of his dramas prior to 1978. Schumacher, Claude. \u201cArrabal\u2019s Theatre of Liberation.\u201d In\u00a0Twentieth Century European Drama, edited by Brian Docherty. New York: St. Martin\u2019s Press, 1994. A good overview. Torres Monreal, Francisco. \u201cIntroducci\u00f3n.\u201d In\u00a0Teatro completo. Madrid: Espasa Calpe, 1997. A lengthy introduction to the two-volume edition of Arrabal\u2019s theater in Spanish, it provides an excellent overview of the evolution of Arrabal\u2019s work for the theater etc.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/laregledujeu.org\/arrabal\/2018\/11\/13\/9730\/fernando-arrabal-picnic-on-the-battlefield-traduction-de-barbara-wright-dionysus-theatre-australia\/\" \/>\n<meta property=\"og:site_name\" content=\"Ceci n\u2019est pas un blog\" \/>\n<meta property=\"article:published_time\" content=\"2018-11-13T08:27:05+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2018-11-13T08:29:52+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/laregledujeu.org\/arrabal\/files\/2018\/11\/download-3.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"266\" \/>\n\t<meta property=\"og:image:height\" content=\"190\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"fernandoarrabal\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"fernandoarrabal\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture est.\" \/>\n\t<meta name=\"twitter:data2\" content=\"6 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/laregledujeu.org\/arrabal\/2018\/11\/13\/9730\/fernando-arrabal-picnic-on-the-battlefield-traduction-de-barbara-wright-dionysus-theatre-australia\/\",\"url\":\"https:\/\/laregledujeu.org\/arrabal\/2018\/11\/13\/9730\/fernando-arrabal-picnic-on-the-battlefield-traduction-de-barbara-wright-dionysus-theatre-australia\/\",\"name\":\"\u00a0Fernando Arrabal (\\\"Picnic on the battlefield) traduction de Barbara Wright:\u00a0 Dionysus Theatre\u00a0 \u00a0Australia. - 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Ceci n\u2019est pas un blog","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/laregledujeu.org\/arrabal\/2018\/11\/13\/9730\/fernando-arrabal-picnic-on-the-battlefield-traduction-de-barbara-wright-dionysus-theatre-australia\/","og_locale":"fr_FR","og_type":"article","og_title":"\u00a0Fernando Arrabal (\"Picnic on the battlefield) traduction de Barbara Wright:\u00a0 Dionysus Theatre\u00a0 \u00a0Australia. - Ceci n\u2019est pas un blog","og_description":"\u00a0PICNIC ON THE BATTLEFIELD Translation: Barbara Wright (R\u00e9gent du Coll\u00e8ge de ‘Pataphysique en\u00a0Zozologie Shakespearienne & The Times Literary Supplement) Dionysus Theatre\u00a0 \u00a0Australia ZAPO\u00a0– a soldier MONSIEUR TEPAN\u00a0– the soldier’s father MADAME TEPAN\u00a0– the soldier’s mother ZEPO\u00a0– an enemy soldier FIRST STRETCHER BEARER SECOND STRETCHER BEARER .\u00a0 \u00a0 \u00a0 \u00a0In the war zone a solitary soldier’s scared stiff. His parents come in to share a picnic basket with him. A frightened enemy soldier is captured though no one knows what to do with him. There’s an air raid – while the parents continue talking. They then devise a way for ending the war – telling the ruling powers the ranks don’t like to play at war anymore. It’s a marvelously simple solution and would work – except a machine gun suddenly silences them and their idea.\u00a0 \u00a0Picnic on the Battlefield\u00a0is published in the collection Guernica and Other Plays\u00a0 (Grove Press) *** \u00a0\u00a0\u00a0 \u201cFernando Arrabal (Melilla, 1932), bien \u00a0qu\u2019il soit\u00a0 l\u2019un de cr\u00e9ateurs les plus controvers\u00e9s d\u2019aujourd\u2019hui, a re\u00e7u\u00a0:\u00a0 le\u00a0Pasolini\u00a0de cin\u00e9ma,\u00a0\u00ab\u00a0\u2026 fou, brutal, clinquant, joyeusement provocateur. Un potlatch dramaturgique o\u00f9 la carcasse de nos soci\u00e9t\u00e9s \u00ab\u00a0avanc\u00e9es\u00a0\u00bb se trouve carbonis\u00e9e sur la rampe festive d’une r\u00e9volution permanente. Arrabal \u00a0h\u00e9rite de la lucidit\u00e9 d’un Kafka et de l’humour d’un Jarry; il s’apparente, dans sa violence, \u00e0 Sade ou \u00e0 Artaud. Mais il est sans doute le seul \u00e0 avoir pouss\u00e9 la d\u00e9rision aussi loin. Profond\u00e9ment politique et joyeusement ludique, r\u00e9volt\u00e9e et boh\u00e8me, elle est le syndrome de notre si\u00e8cle de barbel\u00e9s et de goulags\u00a0: une fa\u00e7on de se maintenir en sursis.\u00a0\u00bb\u201d \u00a0Dictionnaire des litt\u00e9ratures\u00a0(\u00c9ditions Bordas)\u00a0Paris \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cLe tragique destin de son p\u00e8re a marqu\u00e9 l\u2019auteur d\u2019une lumi\u00e8re morale qui est la mati\u00e8re m\u00eame de son art\u00a0\u00bb:\u00a0Vicente Aleixandre. \u00a0 \u00a0 \u00a0 \u00a0\u00ab\u00a0Chaque texto que vous recevez de Fernando Arrabal est un po\u00e8me.\u00a0Et si un jour vous tombez sur sa messagerie, c\u2019est un festin. Tout\u00a0ce qu\u2019il touche, il lui donne de la gr\u00e2ce\u00a0\u00bb.\u00a0L\u00e9onore Chastagner. \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00ab\u00a0Il est le seul survivant des quatre avatars de la modernit\u00e9: dada, surr\u00e9alisme, pataphysique et panique\u201d:\u00a0Mel Gussow,\u00a0The New York Times. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00ab\u00a0M\u00eame s\u2019il d\u00e9fie\u00a0\u00a0 Franco ou Castro, (Lettre au g\u00e9n\u00e9ral Franco, 1972;\u00a0Lettre \u00e0\u00a0Fidel Castro, 1983) Arrabal n\u2019est pas\u00a0 un \u2018contestataire\u2019, ni un pr\u00e9dicateur militant: c\u2019est un homme qui joue. L\u2019art, comme il le con\u00e7oit, \u00a0est un jeu. El le monde se transforme en un jeu quand il le touche\u201d:\u00a0Milan Kundera \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00ab\u00a0Arrabal est passionn\u00e9 par la peinture, le jeu d\u2019\u00e9checs, les masques africains, et la rigueur math\u00e9matique du tohu-bohu\u00a0\u00bb:\u00a0Mich\u00e8le Reulle.\u00a0 First premiered on\u00a0Th\u00e9\u00e2tre de Lut\u00e8ce on April 25, 1959. Good or bad, an experience is always valuable because great art inspires diverse opinions. That’s why we call our customer reviews \u00ab\u00a0experiences.\u00a0\u00bb We welcome you to share yours. Fernando Arrabal is well known as a filmmaker; his first film,\u00a0Viva la muerte(1971), is still considered to be his finest work in that medium.\u00a0J. L. Borges: Una Vida de Poes\u00eda\u00a0was released in 1998. He has also written a number of novels and a series of \u201ccartas\u201d (letters) to Spanish and International political leaders such as Francisco Franco, the king of Spain, Fidel Castro, and several Spanish prime ministers. Arrabal commissioned numerous paintings that conform to his design, published a book of photographs of New York City, and has written books as well as a regular column in\u00a0L\u2019Express\u00a0on the game of chess. Arrabal has directed a number of his own plays around the world. Although Fernando Arrabal\u2019s theater has\u00a0 his reputation as an important, innovative avant-garde dramatist has been clearly established. Helped attract an audience and soon made him the most performed playwright in Paris. Combining a Spanish temperament and sense of black humor with innovative techniques reflective of the artistic ambience of Paris, Arrabal has become the first Spanish playwright since Federico Garc\u00eda Lorca to earn worldwide recognition. His contributions to the theater were summed up by Clive Barnes in a review of The Architect ans the Emperor of Assyria in\u00a0The New York Times:Mr. Arrabal, with his perceptions, loves and understanding, is a playwright to be honored, treasured and understood. In this play he is saying something about the isolation, the solitariness and the need of twentieth century man that, so far as I can see, no other playwright has quite gotten on stage before. Arrabal has received a number of major awards. He received the prestigious Premio Nadal in 1984 for his novel\u00a0La torre herida por el rayo\u00a0(1983;\u00a0The Tower Struck by Lightning, 1988) and the Espasa Calpe award in 1994 for his collection of essays\u00a0La dudosa luz del d\u00eda. He was awarded the Premio Nacional de Teatro in Spain in 2001. In 2001, when tradition dictated that the Premio Cervantes go to a Latin American writer, he received the most votes of any Spaniard. Arata, Luis Oscar.\u00a0The Festive Play of Fernando Arrabal. Lexington: University of Kentucky Press, 1982. Examines Arrabal\u2019s theater from the point of view of play, focusing on Piaget\u2019s concept of game playing and on episodic theater. Donahue, Thomas John.\u00a0The Theater of Fernando Arrabal: A Garden of Earthly Delights. New York: New York University Press, 1980. A general overview of Arrabal\u2019s theater, emphasizing the influence of the \u201chappening,\u201d of street and guerrilla theater, and the creative use of playing space. Arrabal Espace. Paris: Paris Art Center, 1993. A coffee table work written in French with numerous color photographs and a number of essays on Arrabal\u2019s work in various genres. An invaluable source of production photos, Arrabal\u2019s paintings, and numerous other images of his life and work. Orenstein, Gloria. \u201cA Surrealist Theater Tractate: Fernando Arrabal.\u201d In\u00a0The Theater of the Marvelous. New York: New York University Press, 1975. An analysis of Arrabal\u2019s theater as a manifestation of Surrealism based on alchemy. Explores the influence of Andr\u00e9 Breton, Salvador Dali, and Antonin Artaud on Arrabal\u2019s work. Podol, Peter.\u00a0Fernando Arrabal. Boston: Twayne, 1978. A comprehensive biography and analysis of all of Arrabal\u2019s work up to the date of publication, it is intended as an introduction to the playwright and contains brief analyses of all of his dramas prior to 1978. Schumacher, Claude. \u201cArrabal\u2019s Theatre of Liberation.\u201d In\u00a0Twentieth Century European Drama, edited by Brian Docherty. New York: St. Martin\u2019s Press, 1994. A good overview. Torres Monreal, Francisco. \u201cIntroducci\u00f3n.\u201d In\u00a0Teatro completo. Madrid: Espasa Calpe, 1997. A lengthy introduction to the two-volume edition of Arrabal\u2019s theater in Spanish, it provides an excellent overview of the evolution of Arrabal\u2019s work for the theater etc.","og_url":"https:\/\/laregledujeu.org\/arrabal\/2018\/11\/13\/9730\/fernando-arrabal-picnic-on-the-battlefield-traduction-de-barbara-wright-dionysus-theatre-australia\/","og_site_name":"Ceci n\u2019est pas un blog","article_published_time":"2018-11-13T08:27:05+00:00","article_modified_time":"2018-11-13T08:29:52+00:00","og_image":[{"width":266,"height":190,"url":"https:\/\/laregledujeu.org\/arrabal\/files\/2018\/11\/download-3.jpg","type":"image\/jpeg"}],"author":"fernandoarrabal","twitter_misc":{"\u00c9crit par":"fernandoarrabal","Dur\u00e9e de lecture est.":"6 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"WebPage","@id":"https:\/\/laregledujeu.org\/arrabal\/2018\/11\/13\/9730\/fernando-arrabal-picnic-on-the-battlefield-traduction-de-barbara-wright-dionysus-theatre-australia\/","url":"https:\/\/laregledujeu.org\/arrabal\/2018\/11\/13\/9730\/fernando-arrabal-picnic-on-the-battlefield-traduction-de-barbara-wright-dionysus-theatre-australia\/","name":"\u00a0Fernando Arrabal (\"Picnic on the battlefield) traduction de Barbara Wright:\u00a0 Dionysus Theatre\u00a0 \u00a0Australia. - 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\u00a0PICNIC ON THE BATTLEFIELD Translation: Barbara Wright (R\u00e9gent du Coll\u00e8ge de ‘Pataphysique en\u00a0Zozologie Shakespearienne & The Times Literary Supplement) Dionysus Theatre\u00a0 \u00a0Australia ZAPO\u00a0– a soldier MONSIEUR TEPAN\u00a0– the soldier’s father MADAME TEPAN\u00a0– the soldier’s mother ZEPO\u00a0– an enemy soldier FIRST STRETCHER BEARER SECOND STRETCHER BEARER .\u00a0 \u00a0 \u00a0 \u00a0In the war zone a solitary soldier’s scared stiff. His parents come in to share a picnic basket with him. A frightened enemy soldier is captured though no one knows what to do with him. There’s an air raid – while the parents continue talking. They then devise a way for ending the war – telling the ruling powers the ranks don’t like to play at war anymore. It’s a marvelously simple solution and would work – except a machine gun suddenly silences them and their idea.\u00a0 \u00a0Picnic on the Battlefield\u00a0is published in the collection Guernica and Other Plays\u00a0 (Grove Press) *** \u00a0\u00a0\u00a0 \u201cFernando Arrabal (Melilla, 1932), bien \u00a0qu\u2019il soit\u00a0 l\u2019un de cr\u00e9ateurs les plus controvers\u00e9s d\u2019aujourd\u2019hui, a re\u00e7u\u00a0:\u00a0 le\u00a0Pasolini\u00a0de cin\u00e9ma,\u00a0\u00ab\u00a0\u2026 fou, brutal, clinquant, joyeusement provocateur. Un potlatch dramaturgique o\u00f9 la carcasse de nos soci\u00e9t\u00e9s \u00ab\u00a0avanc\u00e9es\u00a0\u00bb se trouve carbonis\u00e9e sur la rampe festive d’une r\u00e9volution permanente. Arrabal \u00a0h\u00e9rite de la lucidit\u00e9 d’un Kafka et de l’humour d’un Jarry; il s’apparente, dans sa violence, \u00e0 Sade ou \u00e0 Artaud. Mais il est sans doute le seul \u00e0 avoir pouss\u00e9 la d\u00e9rision aussi loin. Profond\u00e9ment politique et joyeusement ludique, r\u00e9volt\u00e9e et boh\u00e8me, elle est le syndrome de notre si\u00e8cle de barbel\u00e9s et de goulags\u00a0: une fa\u00e7on de se maintenir en sursis.\u00a0\u00bb\u201d \u00a0Dictionnaire des litt\u00e9ratures\u00a0(\u00c9ditions Bordas)\u00a0Paris \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cLe tragique destin de son p\u00e8re a marqu\u00e9 l\u2019auteur d\u2019une lumi\u00e8re morale qui est la mati\u00e8re m\u00eame de son art\u00a0\u00bb:\u00a0Vicente Aleixandre. \u00a0 \u00a0 \u00a0 \u00a0\u00ab\u00a0Chaque texto que vous recevez de Fernando Arrabal est un po\u00e8me.\u00a0Et si un jour vous tombez sur sa messagerie, c\u2019est un festin. Tout\u00a0ce qu\u2019il touche, il lui donne de la gr\u00e2ce\u00a0\u00bb.\u00a0L\u00e9onore Chastagner. \u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00ab\u00a0Il est le seul survivant des quatre avatars de la modernit\u00e9: dada, surr\u00e9alisme, pataphysique et panique\u201d:\u00a0Mel Gussow,\u00a0The New York Times. \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00ab\u00a0M\u00eame s\u2019il d\u00e9fie\u00a0\u00a0 Franco ou Castro, (Lettre au g\u00e9n\u00e9ral Franco, 1972;\u00a0Lettre \u00e0\u00a0Fidel Castro, 1983) Arrabal n\u2019est pas\u00a0 un \u2018contestataire\u2019, ni un pr\u00e9dicateur militant: c\u2019est un homme qui joue. L\u2019art, comme il le con\u00e7oit, \u00a0est un jeu. El le monde se transforme en un jeu quand il le touche\u201d:\u00a0Milan Kundera \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00ab\u00a0Arrabal est passionn\u00e9 par la peinture, le jeu d\u2019\u00e9checs, les masques africains, et la rigueur math\u00e9matique du tohu-bohu\u00a0\u00bb:\u00a0Mich\u00e8le Reulle.\u00a0 First premiered on\u00a0Th\u00e9\u00e2tre de Lut\u00e8ce on April 25, 1959. Good or bad, an experience is always valuable because great art inspires diverse opinions. That’s why we call our customer reviews \u00ab\u00a0experiences.\u00a0\u00bb We welcome you to share yours. Fernando Arrabal is well known as a filmmaker; his first film,\u00a0Viva la muerte(1971), is still considered to be his finest work in that medium.\u00a0J. L. Borges: Una Vida de Poes\u00eda\u00a0was released in 1998. He has also written a number of novels and a series of \u201ccartas\u201d (letters) to Spanish and International political leaders such as Francisco Franco, the king of Spain, Fidel Castro, and several Spanish prime ministers. Arrabal commissioned numerous paintings that conform to his design, published a book of photographs of New York City, and has written books as well as a regular column in\u00a0L\u2019Express\u00a0on the game of chess. Arrabal has directed a number of his own plays around the world. Although Fernando Arrabal\u2019s theater has\u00a0 his reputation as an important, innovative avant-garde dramatist has been clearly established. Helped attract an audience and soon made him the most performed playwright in Paris. Combining a Spanish temperament and sense of black humor with innovative techniques reflective of the artistic ambience of Paris, Arrabal has become the first Spanish playwright since Federico Garc\u00eda Lorca to earn worldwide recognition. His contributions to the theater were summed up by Clive Barnes in a review of The Architect ans the Emperor of Assyria in\u00a0The New York Times:Mr. Arrabal, with his perceptions, loves and understanding, is a playwright to be honored, treasured and understood. In this play he is saying something about the isolation, the solitariness and the need of twentieth century man that, so far as I can see, no other playwright has quite gotten on stage before. Arrabal has received a number of major awards. He received the prestigious Premio Nadal in 1984 for his novel\u00a0La torre herida por el rayo\u00a0(1983;\u00a0The Tower Struck by Lightning, 1988) and the Espasa Calpe award in 1994 for his collection of essays\u00a0La dudosa luz del d\u00eda. He was awarded the Premio Nacional de Teatro in Spain in 2001. In 2001, when tradition dictated that the Premio Cervantes go to a Latin American writer, he received the most votes of any Spaniard. Arata, Luis Oscar.\u00a0The Festive Play of Fernando Arrabal. Lexington: University of Kentucky Press, 1982. Examines Arrabal\u2019s theater from the point of view of play, focusing on Piaget\u2019s concept of game playing and on episodic theater. Donahue, Thomas John.\u00a0The Theater of Fernando Arrabal: A Garden of Earthly Delights. New York: New York University Press, 1980. A general overview of Arrabal\u2019s theater, emphasizing the influence of the \u201chappening,\u201d of street and guerrilla theater, and the creative use of playing space. Arrabal Espace. Paris: Paris Art Center, 1993. A coffee table work written in French with numerous color photographs and a number of essays on Arrabal\u2019s work in various genres. An invaluable source of production photos, Arrabal\u2019s paintings, and numerous other images of his life and work. Orenstein, Gloria. \u201cA Surrealist Theater Tractate: Fernando Arrabal.\u201d In\u00a0The Theater of the Marvelous. New York: New York University Press, 1975. An analysis of Arrabal\u2019s theater as a manifestation of Surrealism based on alchemy. Explores the influence of Andr\u00e9 Breton, Salvador Dali, and Antonin Artaud on Arrabal\u2019s work. Podol, Peter.\u00a0Fernando Arrabal. Boston: Twayne, 1978. A comprehensive biography and analysis of all of Arrabal\u2019s work up to the date of publication, it is intended as an introduction to the playwright and contains brief analyses of all of his dramas prior to 1978. Schumacher, Claude. \u201cArrabal\u2019s Theatre of Liberation.\u201d In\u00a0Twentieth Century European Drama, edited by Brian Docherty. New York: St. Martin\u2019s Press, 1994. A good overview. Torres Monreal, Francisco. \u201cIntroducci\u00f3n.\u201d In\u00a0Teatro completo. Madrid: Espasa Calpe, 1997. A lengthy introduction to the two-volume edition of Arrabal\u2019s theater in Spanish, it provides an excellent overview of the evolution of Arrabal\u2019s work for the theater etc.<\/p>\n","protected":false},"author":6,"featured_media":9731,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-9730","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-miscellannees"],"yoast_head":"\n