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Osman: Tragedie
Sombre et spectaculaire, cette tragédie transporte le lecteur dans les intrigues et les combats du pouvoir ottoman.
Une figure héroïque et impitoyable domine la scène, alors que loyauté, vengeance et destin s’entrechoquent sous la lourde voix du boulevard.
Dans Osman, les personnages naviguent entre le Serrail, les rangs des soldats et les intrigues de cour. Le récit oscille entre moments de grandeur et actes de violence, jusqu’à un dénouement marquant pour lEmpire et ses princes. L’écriture exprime la fièvre du temps et l’éclat tragique des figures qui font l’histoire.Un cadre royal et militaire dense, avec des scènes de combat et des passages de complots.Des personnages Osman, la Fille du movphti, Selim, Fatime et Mamvd, chacun aportant tension et émotion.Un rythme théâtral qui mêle poésie et action, idéal pour la mise en scène.Un texte historique réédité fidèlement, pour retrouver l’âme du théâtre classique. Idéal pour les amateurs de tragédies historiques et du théâtre classique du XVIIe siècle.
Une figure héroïque et impitoyable domine la scène, alors que loyauté, vengeance et destin s’entrechoquent sous la lourde voix du boulevard.
Dans Osman, les personnages naviguent entre le Serrail, les rangs des soldats et les intrigues de cour. Le récit oscille entre moments de grandeur et actes de violence, jusqu’à un dénouement marquant pour lEmpire et ses princes. L’écriture exprime la fièvre du temps et l’éclat tragique des figures qui font l’histoire.Un cadre royal et militaire dense, avec des scènes de combat et des passages de complots.Des personnages Osman, la Fille du movphti, Selim, Fatime et Mamvd, chacun aportant tension et émotion.Un rythme théâtral qui mêle poésie et action, idéal pour la mise en scène.Un texte historique réédité fidèlement, pour retrouver l’âme du théâtre classique. Idéal pour les amateurs de tragédies historiques et du théâtre classique du XVIIe siècle.
111 pages, Hardcover
Published August 24, 2018
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About the author
Tristan L'Hermite
53 books2 followersFrançois L'Hermite du Solier, called Tristan L'Hermite, was a French nobleman and writer: dramatist, poet, and novelist.
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Displaying 1 of 1 review
August 11, 2024
It is interesting to me that the themes in Osman are so similar to the themes in La Mort de Sénèque, i.e. the overthrow of an all-powerful emperor and the emperor's response to the complaints of his people. I am fascinated by thinking of both of these plays as responses to the absolute monarchy in France.
Osman is not well plotted (as Lacy Lockert and others have pointed out), but it has some really great sequences, especially 4.2, with the Janissaries on the deck and the emperor on (maybe?) a balcony.
One also can't help comparing this (at least a little bit) to Racine's Bajazet, since the source material is the same. Osman does partially have the structure of a Racinean tragedy—where the person with the power is also the person who loves someone who does not love him/her in return—but it lacks almost everything else that is central to Racinean tragedy. This is a surprising play in that it lacks the claustrophobia of Racine's dramas and it lacks the tension that Racine creates so finely. It also never manages to convince us to care about the Mufti's daughter (the female protagonist), though the tragedy seems invested in her death in act five as an emotional event. Still Osman has its virtues: it's invested in politics in a way that Racine's tragedies never are, and it has at least one sparkling cliffhanger (as does La Mort de Sénèque).
PS I read this in English, not in the original French, despite what I entered into GoodReads.
Osman is not well plotted (as Lacy Lockert and others have pointed out), but it has some really great sequences, especially 4.2, with the Janissaries on the deck and the emperor on (maybe?) a balcony.
One also can't help comparing this (at least a little bit) to Racine's Bajazet, since the source material is the same. Osman does partially have the structure of a Racinean tragedy—where the person with the power is also the person who loves someone who does not love him/her in return—but it lacks almost everything else that is central to Racinean tragedy. This is a surprising play in that it lacks the claustrophobia of Racine's dramas and it lacks the tension that Racine creates so finely. It also never manages to convince us to care about the Mufti's daughter (the female protagonist), though the tragedy seems invested in her death in act five as an emotional event. Still Osman has its virtues: it's invested in politics in a way that Racine's tragedies never are, and it has at least one sparkling cliffhanger (as does La Mort de Sénèque).
PS I read this in English, not in the original French, despite what I entered into GoodReads.
Displaying 1 of 1 review