Shakespeare et l'Ailleurs / Shakespeare and Elsewhere, 30 April 2010
Shakespeare et l'Ailleurs / Shakespeare and Elsewhere
Ed. Muriel CUNIN and Pascale DROUET
What does "Elsewhere" mean? It refers to an ambivalent form of space. It can hold out the promise of another life, of an escape to "The Azure", of an invitation to the voyage when the routine drudgery of life is dull, drab or even unbearable. But it can also be synonymous with want, wandering, loss and exile, or with a form of menacing emptiness and bring out the fear of the unknown. Be it read in a positive or in a negative way (it will be worth wondering if the multiple forms of Elsewhere may allow the notion to escape this polarity), it is always a physical or spatiotemporal projection towards the unfamiliar. Hence the following questions: can Elsewhere be located anywhere? Is it a utopia (or a dystopia)? Is it a fantasy, an illusion, a delusion? Can it be mapped or is it to remain uncharted? How can it be represented? How can it be staged?
- Elsewhere and the distancing, travelling, discovering, conquering and territorialising process, that is to say, to use Gilles Deleuze and Félix Guattari's terms, the dynamics of the smooth space to be subjugated; Elsewhere as the promise of new worlds and new spaces; Elsewhere as a form of encounter with another territory, but also with the Other, which is reminiscent of the dialectics described as follows by Richard Marienstras: "Moving away from what is near, moving close to what is far off, inverts the usual relationship of man with his social and natural environment ".
- Elsewhere in its relation to exile and banishment, to what is "outside", to unmappable territories – "ces contrées d'en dehors des cartes " –, in a deterritorialising process; and, more radically, Elsewhere as "the undiscovered country" of Death, a country that cannot be imagined or represented. Which means Elsewhere as the space of exclusion, exclusion from society and the natural order .
- Elsewhere as a form of dream, as an escape to imaginary buildings and landscapes. Elsewhere as part of theatrical illusion, as a place for ephemeral creation and, more broadly speaking, as artistic space. Papers may focus for instance on perspective as a passage to another space, just like the stage described by Serlio, which becomes a place of wonder: "within a small space could be seen palaces aligned in perspective, with great temples and divers houses near and far, fine, spacious open places decorated with many buildings, long straight streets, crossed by side streets, triumphal arches, marvellous high columns, pyramids, obelisks and a thousand other singular artefacts ."
- Elsewhere as a reflection of Bonnefoy's Hinterland. Elsewhere as opposed to here and now, as a mental place, a place for quest, a "country of higher essence " where projection and reminiscence interact; the "unlocatable elsewhere" as opposed to the "perishable here ." How can they be linked? How can they be reconciled?
- Elsewhere as a form of withdrawal (which can also be a form of opening) into inner spaces, which may result in switching off through madness, melancholy, meditation or prayer. Hence the following question: how is it possible to avoid autism or schizophrenia? How is it possible to reconcile inner and outer space, reality and imagination?
Completed contributions, either in French or in English, with note on contributors (200 words) and abstract (200 words), should be sent by attached file (.doc or .rtf) to email@example.com and firstname.lastname@example.org before 30th APRIL 2010.
For the style-sheet specific to the Cahiers Shakespeare en devenir please see