Abstract:Taking Barthes's concept of a Baudelairean "pre- theater" as its starting point, this article sets out to interrogate where Baudelaire's theater voices may be located, both in theory and in practice. It examines two specific examples of performed/staged readings of Baudelaire's poetry by two French actors (Pierre Blanchar and Fabrice Luchini). Through detailed analyses of "La Géante" and "Au lecteur," it sets out to explore Baudelaire's voices at variance and proxy voices which seem, perversely, to promote a work's longevity beyond the published page. It concludes by suggesting that Baudelaire embeds diverging, conflicting, and contaminating theater voices into his poetic language, and that this is what enables them to move beyond a private stage and onto a public one.

中文翻译：

---

舞台上的诗歌：波德莱尔的剧院之声

摘要：本文以巴特斯（Bathes）的“剧院前”概念为出发点，从理论上和实践上探讨了鲍德莱尔剧院声音的定位。它考察了两个法国演员（皮埃尔·布兰查尔（Pierre Blanchar）和法布里斯·卢钦尼（Fabrice Luchini））对鲍德莱尔诗歌进行表演/演出的两个具体例子。通过对“ LaGéante”和“ Au lecteur”的详细分析，它开始探索波德莱尔的方差声音和代理声音，这些似乎反过来促进了作品的出版寿命。最后，他暗示鲍德莱尔将发散，冲突和污染的剧院声音嵌入到他的诗意语言中，这就是使他们能够超越私人舞台进入公共舞台的原因。