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Il s''agit du scénario d''un film qui devrait être tourné au Maroc, par Dimitri de Clercq, qui avait déjà co-réalisé avec Alain Robbe-Grillet, en 1994, le long-métrage, Un bruit qui rend fou. « À Marrakech, dans le dédale imprévisible des ruelles et impasses de l''ancienne médina, un orientaliste tombe amoureux fou du fantôme gracieux d''une jeune odalisque, assassinée jadis dans des conditions hallucinantes, selon la légende… Le présent récit de cette aventure n''est pas un roman, et ne constitue pas encore une œuvre cinématographique. C''est un projet de film, rédigé hâtivement (selon mon habitude pour une “ continuité dialoguée ” à strict but descriptif) pendant l''interruption assez longue qui a marqué l''écriture de La Reprise. La durée de ce film qu''il est difficile d''abréger sans en détruire une structure narrative complexe mais précise, outrepasserait sans doute ce que tolèrent les salles pour le cinéma d''auteur. D''autre part, il coûterait certainement plus cher que la profession n''estime prudent de risquer dans ce genre de réalisation. Si je préfère néanmoins en publier sans attendre le texte hypothétique, c''est que cela ne peut en rien nuire à l''accomplissement du projet, peut-être même au contraire. Et de façon un peu paradoxale, son ouverture actuelle, les options qu''il laisse souvent libres entre plusieurs solutions possibles, les indications de mise en scène, de jeu d''acteur, de montage, de bande sonore, etc., qui rompent sans cesse le déroulement de l''intrigue et l''illusion réaliste recherchée dans les œuvres du commerce, ne constituent en rien selon mon point de vue une gêne pour la lecture, ni un empêchement d''entrer dans ce monde imaginaire. Je pourrais même prétendre que les hésitations et divergences concernant “ ce qui se passe ” sur l''écran ne font que donner un plus grand poids de réel à l''univers mental en train de prendre forme. Si le film se tourne l''hiver prochain, mon jeune associé, Dimitri de Clercq, qui assurera la plus grande part de la réalisation, devra en revanche opérer certains choix tenant compte des contraintes financières, des décors naturels qu''il aura retenus et des multiples aléas climatiques ou humains. »Alain Robbe-Grillet, janvier 2002.
160 pages, Paperback
First published April 8, 2002
8 people want to read
About the author
Alain Robbe-Grillet
102 books428 followersScreenplays and novels, such as
The Erasers
(1953), of French writer Alain Robbe-Grillet, affiliated with the New Wave movement in cinema, subordinate plot to the treatment of space and time; directors, such as Jean Luc Godard and François Truffaut, led this movement, which in the 1960s abandoned traditional narrative techniques in favor of greater use of symbolism and abstraction and dealt with themes of social alienation, psychopathology, and sexual love.
Alain Robbe-Grillet was a French writer and filmmaker. He was along with Nathalie Sarraute, Michel Butor and Claude Simon one of the figures most associated with the trend of the Nouveau Roman. Robbe-Grillet was elected a member of the Académie française on March 25, 2004, succeeding Maurice Rheims at seat #32.
He was married to Catherine Robbe-Grillet (née Rstakian) .
Alain Robbe-Grillet was born in Brest (Finistère, France) into a family of engineers and scientists. He was trained as an agricultural engineer. In the years 1943-44 Robbe-Grillet participated in service du travail obligatoire in Nuremberg where he worked as a machinist. The initial few months were seen by Robbe-Grillet as something of a holiday, since in between the very rudimentary training he was given to operate the machinery he had free time to go to the theatre and the opera. In 1945, Robbe-Grillet completed his diploma at the National Institute of Agronomy. Later, his work as an agronomist took him to Martinique, French Guinea,Guadeloupe and Morocco.
His first novel The Erasers (Les Gommes) was published in 1953, after which he dedicated himself full-time to his new occupation. His early work was praised by eminent critics such as Roland Barthes and Maurice Blanchot. Around the time of his second novel he became a literary advisor for Les Editions de Minuit and occupied this position from 1955 until 1985. After publishing four novels, in 1961 he worked with Alain Renais, writing the script for Last Year at Marienbad (L'Année Dernière à Marienbad), and subsequently wrote and directed his own films. In 1963, Robbe-Grillet published For a New Novel (Pour un Nouveau Roman), a collection of previous published theoretical writings concerning the novel. From 1966 to 1968 he was a member of the High Committee for the Defense and Expansion of French (Haut comité pour la défense et l´expansion de la langue française). In addition Robbe-Grillet also led the Centre for Sociology of Literature (Centre de sociologie de la littérature) at the university of Bruxelles from 1980 to 1988. From 1971 to 1995 Robbe-Grillet was a professor at New York University, lecturing on his own novels.
In 2004 Robbe-Grillet was elected to the Académie française, but was never actually formally received by the Académie because of disputes regarding the Académie's reception procedures. Robbe-Grillet both refused to prepare and submit a welcome speech in advance, preferring to improvise his speech, as well as refusing to purchase and wear the Académie's famous green tails (habit vert) and sabre, which he considered as out-dated.
He died in Caen after succumbing to heart problems
Style
His writing style has been described as "realist" or "phenomenological" (in the Heideggerian sense) or "a theory of pure surface." Methodical, geometric, and often repetitive descriptions of objects replace the psychology and interiority of the character. Instead, one slowly pieces together the story and the emotional experience of jealousy in the repetition of descriptions, the attention to odd details, and the breaks in repetitions. Ironically, this method resembles the experience of psychoanalysis in which the deeper unconscious meanings are contained in the flow and disruptions of free associations. Timelines and plots are fractured and the resulting novel resembles the literary
Alain Robbe-Grillet was a French writer and filmmaker. He was along with Nathalie Sarraute, Michel Butor and Claude Simon one of the figures most associated with the trend of the Nouveau Roman. Robbe-Grillet was elected a member of the Académie française on March 25, 2004, succeeding Maurice Rheims at seat #32.
He was married to Catherine Robbe-Grillet (née Rstakian) .
Alain Robbe-Grillet was born in Brest (Finistère, France) into a family of engineers and scientists. He was trained as an agricultural engineer. In the years 1943-44 Robbe-Grillet participated in service du travail obligatoire in Nuremberg where he worked as a machinist. The initial few months were seen by Robbe-Grillet as something of a holiday, since in between the very rudimentary training he was given to operate the machinery he had free time to go to the theatre and the opera. In 1945, Robbe-Grillet completed his diploma at the National Institute of Agronomy. Later, his work as an agronomist took him to Martinique, French Guinea,Guadeloupe and Morocco.
His first novel The Erasers (Les Gommes) was published in 1953, after which he dedicated himself full-time to his new occupation. His early work was praised by eminent critics such as Roland Barthes and Maurice Blanchot. Around the time of his second novel he became a literary advisor for Les Editions de Minuit and occupied this position from 1955 until 1985. After publishing four novels, in 1961 he worked with Alain Renais, writing the script for Last Year at Marienbad (L'Année Dernière à Marienbad), and subsequently wrote and directed his own films. In 1963, Robbe-Grillet published For a New Novel (Pour un Nouveau Roman), a collection of previous published theoretical writings concerning the novel. From 1966 to 1968 he was a member of the High Committee for the Defense and Expansion of French (Haut comité pour la défense et l´expansion de la langue française). In addition Robbe-Grillet also led the Centre for Sociology of Literature (Centre de sociologie de la littérature) at the university of Bruxelles from 1980 to 1988. From 1971 to 1995 Robbe-Grillet was a professor at New York University, lecturing on his own novels.
In 2004 Robbe-Grillet was elected to the Académie française, but was never actually formally received by the Académie because of disputes regarding the Académie's reception procedures. Robbe-Grillet both refused to prepare and submit a welcome speech in advance, preferring to improvise his speech, as well as refusing to purchase and wear the Académie's famous green tails (habit vert) and sabre, which he considered as out-dated.
He died in Caen after succumbing to heart problems
Style
His writing style has been described as "realist" or "phenomenological" (in the Heideggerian sense) or "a theory of pure surface." Methodical, geometric, and often repetitive descriptions of objects replace the psychology and interiority of the character. Instead, one slowly pieces together the story and the emotional experience of jealousy in the repetition of descriptions, the attention to odd details, and the breaks in repetitions. Ironically, this method resembles the experience of psychoanalysis in which the deeper unconscious meanings are contained in the flow and disruptions of free associations. Timelines and plots are fractured and the resulting novel resembles the literary
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October 17, 2020« Le monde des rêves ressemble d'ailleurs beaucoup à l'autre. C'est son double exact, son jumeau. Il y a des personnages, des objets, des paroles, des peurs, des plaisirs, des drames. Mais tout y est infiniment plus violent. »
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