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Part one begins by examining the nature of Diderot's theatrical
revolution as it is revealed in the works of dramatic theory, the
Entretiens sur Le Fils naturel and De la poesie dramatique, as well
as in his letters and articles for the Correspondance litteraire.
It also compares this theory with the level of innovation revealed
in practical terms in the plays themselves. Diderot's approach to
theatrical dialogue seems to be one of the most original, and most
frequently criticised, aspects of his dramaturgy and this is
therefore the subject of a separate chapter. Part two examines both
the sources of Diderot's dramatic works, and the way in which he
renews this source material in order to produce dramatic theory
which seems more original than it actually is, and a theoretical
style which, for good or ill, is uniquely his own. This section
begins with a consideration of the most obviously derivative of his
dramatic works, his translation of The Gamester, which, because of
the contemporary popularity of the English play, gives us a unique
opportunity to compare Diderot's working methods with those of
three French contemporaries who were also attracted by this text.
The remaining chapters deal firstly with the major influences on
the dramatic theory, and secondly with the sources and
compositional methods of the four plays: Le Fils naturel, Le Pere
de famille, Les Peres malheureux and Est-il bon? Est-il mechant?
Identity and Transformation in the Plays of Alexis Piron
The July 2014 issue of The Modern Language Review.
The January 2014 issue of The Modern Language Review.
The April 2014 issue of The Modern Language Review.
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