| Title: | Le repas comme (une) mise en scène esthétisante: trois exemples |
| Author: | Florina-Elena Pîrjol |
| Publication: | Language and Literature – European Landmarks of Identity, 11, p. 376 |
| p-ISSN: | 1843-1577 |
| Publisher: | Universitatea din Pitești |
| Place: | Pitești |
| Year: | 2012 |
| Abstract: | Eating as a social and cultural act evolves by dramatic rules and has always had a powerful aesthetic component. We say that we eat also with the eyes and that we judge food with the heart, irrationally. The meal becomes, in this vision, a „mise-en-scène” led by the cook (the director, the author), in which the dishes are the characters (because they have names), the table is the stage and the consumers are the public, the audience. There is a dramatic art of dining, nothing is at random and all the moments of the dinner are loaded with tension and meaning. The pleasure of making out of dinners a real stylistic performance reached superlative levels in the “texts” that we chose to illustrate the dramatic and aesthetic structure of the prandial rite. They belong to various epochs, but actually to the same type of sensibility: the “famous supper” organized on February 1st, 1783, by Grimod de la Reynière, the funereal dinner in J.-K. Huysmans’s novel À rebours (1884) and the last scene of Peter Greenaway’s movie, The Cook, the Thief His Wife and Her Lover (1989). |
| Key words: | dramaturgy of dinner, esthetism, funeral repast |
| Language: | French |
| Links: |  pdf  html |
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