My intention is less a case of attempting to ascertain the value of the different productions than of interrogating their pertinence in regards to Céline’s text so as to instigate a dialogue between the adaptation and its “model” in order to see if the theatrical recreation can bring new insights into Céline’s poetics. Conversely, I also set out to demonstrate the theatrical potential of Céline’s process of transposition. Whether reproduced in direct speech or transposed into the structure of the individual sentence and narrative as a whole, the spoken word is at the very heart of Céline’s texts. Any who attempt to adapt or transpose one of Céline’s texts for the theatre is thus able to stage this living, spoken word by seeking to recover its origin or, in more Celinian terms, its emotion. What is more, it is also possible to show, by equally theatrical means, the extent to which the oral and written codes are inextricably linked to each others in Céline’s text, and to do so by emphasizing the actual process of transposition by enacting this very same process. This double transposition of Céline’s text would thus reveal its inherently constructed nature and would make of Céline’s writing a “writing out loud” – which would then inscribe itself in the contemporary lineage of non-representational theatre.
« Le théâtre dans la trilogie allemande : l’envers du décor », Actes du XIXe colloque international L.-F. Céline 2012 (Berlin), Céline et l’Allemagne, Paris, Société d’Études céliniennes, p. 31-52.
« Céline sur le ton de la confidence », Revue d’Études céliniennes, no 7, printemps 2012, p. 111-113.
«Échos de théâtre», Actes du XVIIe colloque international L.-F. Céline 2008 (Milan), Traduction et transposition, Paris, Société d’Études céliniennes, p. 39-55.
« Céline transposé. L’adaptation des romans de Céline au théâtre » Revue d’Études céliniennes no 4, hiver 2008, p. 5-24