Misplaced Pages

Le Sabre de mon père

Article snapshot taken from Wikipedia with creative commons attribution-sharealike license. Give it a read and then ask your questions in the chat. We can research this topic together.
1951 surrealist play written by Roger Vitrac

This article has multiple issues. Please help improve it or discuss these issues on the talk page. (Learn how and when to remove these messages)
The topic of this article may not meet Misplaced Pages's general notability guideline. Please help to demonstrate the notability of the topic by citing reliable secondary sources that are independent of the topic and provide significant coverage of it beyond a mere trivial mention. If notability cannot be shown, the article is likely to be merged, redirected, or deleted.
Find sources: "Le Sabre de mon père" – news · newspapers · books · scholar · JSTOR (April 2016) (Learn how and when to remove this message)
This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.
Find sources: "Le Sabre de mon père" – news · newspapers · books · scholar · JSTOR (April 2016) (Learn how and when to remove this message)
This article's tone or style may not reflect the encyclopedic tone used on Misplaced Pages. See Misplaced Pages's guide to writing better articles for suggestions. (April 2016) (Learn how and when to remove this message)
(Learn how and when to remove this message)

Le Sabre de mon père (transl. My father's sabre) is a surrealist play written by Roger Vitrac which premiered at Théâtre de Paris in 1951.

Original cast

Critics

Initially the play was unsuccessful and disliked by critics, even by those who were at the time supporting surrealist arts of this kind. Some of these critics explained that the title was not as explicit as they had wished.

The play was defended by Jean Anouilh, who proclaimed: "We are some in the art who have been working since the last war to strangle the anecdote, to kill the idea of a good play that ruled the French theater to the point of reducing it to the status of a mummy. The play is good, no? Well, no. Neither Colombe nor Le Sabre is good plays. But if the actors play "like gods", it's because they have characters otherwise, they don't play well. And then, let architecture be left to the construction specialists. The theater is a game of the mind and mind may well make honey in foraging in detail, like a bee." Anouilh echoes Robert Kemp who stated in his article: "That Sabre, good in details and which, taken line by line, do not lack of taste but is overall, after all, insignificant..."

External links


Stub icon

This article on a play from the 1950s is a stub. You can help Misplaced Pages by expanding it.

Categories: