Abstract

In his autobiographical work, Deux garçons, Philippe Mezescaze relates his love story with Hervé Guibert—a love conceived during adolescence. During a theater class given in the Cultural Center of La Rochelle, their passion reveals itself to their classmates and professor during a powerful performance of a scene from Camus's Caligula. Their performance is profoundly shocking to the audience, perhaps because it is not a performance, but rather the expression of a feeling that seems socially unacceptable and inappropriate to their ages. Their classmates and the professor realize that they have witnessed a reality, not a mere scene from a play. Applying Antonin Artaud's theory Le Théâtre et son double, this article explores Deux garçons for its profound theatrical dimension, for its illustration of the phenomenon of “voir et être vu”—“seeing and being seen.” These themes are present from the beginning of the love story to its eventual end. Mezescaze's narrative includes references to various plays such as Caligula (Camus), Le Prince de Hombourg (Kleist), and Macbeth (Shakespeare)—references which support the theatrical atmosphere pervading all his writings.

摘要

Philippe Mezescaze在他的自传作品Deuxgarçons中，将自己的爱情故事与埃尔维·吉伯特（HervéGuibert）结合在一起，这是青春期的爱情。在拉罗谢尔文化中心举办的一场戏剧课上，在加缪的《卡里古拉》的现场表演中，他们的热情向同班同学和教授展示。他们的表演深深地震撼了观众，也许是因为这不是一场表演，而是一种感觉的表达，这种感觉似乎在社会上是不可接受的，并且对于他们的年龄来说是不合适的。他们的同学和教授意识到他们目睹了现实，而不仅仅是戏剧中的一幕。运用安东宁·阿陶（Antonin Artaud）的理论LeThéâtreet son double，本文探讨了Deuxgarçons由于其戏剧性的深远意义，其对“见与被见”现象的阐释-“见与被见”。这些主题从爱情故事的开始到最终的故事都存在。Mezescaze的叙述包括各种戏剧，如引用卡利古拉（加缪），乐王子贺堡（克莱斯特），和麦克白（莎士比亚）-references支持的戏剧气氛弥漫他的所有著作。