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baby commences screaming, and the Sister of Mercy appears, announcing the death of the mother. It became clear that the intruder being referred to by the old man was death itself. Later, Maeterlinck would explain the dominance of this element (which was recurring in his other plays) so that it was almost treated as a character in the narrative: "This
Unknown takes on, most frequently, the form of Death. The infinite presence of death, gloomy, hypocritically active, fills all the interstices of the poem. To the problem of its existence no reply is made except by the riddle of its annihilation."
194:. For example, he invested special valence in buildings to dramatize patterns of behavior, such as the house representing a form of introversion in which libido (psychic energy) flows inward. The text's conspicuous word repetitions might strike an audience as unnecessary or an oversight on the part of the author. Maeterlinck, however, employed this technique in several of his plays to enhance the atmosphere of the
110:, which appeared first in publication in 1890. Journalistic appreciations of the text throughout that year prompted Parisian independent theatre producers to get the performance rights. From its stage debut the following spring, it became identified as a landmark work in the Symbolism movement of the late-nineteenth century.
181:
After hearing many noises, the grandfather hears two sets of footsteps upon the staircase. The maid appears, saying the door was open, so she shut it. The grandfather claims he heard someone enter the room behind the maid, but the others in the room say she was alone. The clock strikes midnight, the
164:
received much critical praise. Equally striking to both critics and audience was its novel staging, featuring the soon-to-be signature
Symbolist acting style—conveying a religious reverie, with its hieratic poses and gestures, matched with solemn, psalmodized line readings—forged by the new acting
177:
Set in the living room of a home, the grandfather, who is blind, waits with the father, the uncle, and the three daughters. They wait for the arrival of the priest and the sister. The ailing mother, who is in the next room, has given birth to a child, who sleeps in another adjoining room.
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concerns man's conflict with preternatural forces, against which he is powerless. The same theme was prevalent in
Maeterlinck's earlier play,
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160:. Maeterlinck recalled in his memoirs that if the program went on too long, then the play was to be removed. Fortunately, it went on, and
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208:, a likely association considering that the 1891 benefit premiere followed the play with an actor reciting "Le Corbeau"—poet
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has been translated into
English twice: by Mary Vielé in 1891, and by American poet
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Le
Symbolisme au Théâtre: Lugné-Poe et les débuts de l'OEuvre
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Maeterlinck used several unconventional literary devices in
289:. The green tree library. Chicago: Stone & Kimball.
212:'s French translation of Poe's influential 1845 poem.
202:
aimed for with his liberal use of the rhyme "-ore" in
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419:. Boston: International Pocket Library. p. 75.
244:
http://www.theatrehistory.com/plays/intruder.htmlis
387:. Bloomington: Indiana University Press. pp.
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283:Maeterlinck, Maurice; Hovey, Richard (1894–1896).
256:Symbolist Theater: The Formation of an Avant-Garde
270:, Bettina Knapp, (Twayne Publishers: Boston), 41.
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452:
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335:The Marionette Plays of Maurice Maeterlinck
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453:Maeterlinck, Maurice; Vielé, Mary (1891).
364:. New York: F.A. Stokes company. pp.
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383:Archetype, Architecture, and the Writer
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337:. Raleigh, NC: Lulu Press. p. 7.
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258:. Johns Hopkins UP, 1993, pp. 158-62.
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459:. Washington, D.C: W. H. Morrison.
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41:L'Intruse - with illustrations by
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732:The Massacre of the Innocents
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837:Plays by Maurice Maeterlinck
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796:The Intelligence of Flowers
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144:first produced the play in
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775:The Treasure of the Humble
619:The Miracle of St. Anthony
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125:The play is dedicated to
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358:Bithell, Jethro (1916).
803:The Life of the Termite
570:Aglavaine and SĂ©lysette
563:The Death of Tintagiles
443:. L'Arche, 1957, p.495.
379:Knapp, Bettina (1986).
333:Booth, Francis (2011).
100:) is a one-act play by
757:The Dance of the Stars
682:The Three Justiciaries
626:The Mayor of Stilmonde
549:Alladine and Palomides
415:Brown, Edmund (1987).
169:and Georgette Camée.
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647:The Power of the Dead
640:The Cloud That Lifted
542:Pelléas and Mélisande
64:20 May 1891
577:Ariane and Bluebeard
535:The Seven Princesses
312:Maurice Maeterlinck,
216:English translations
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499:Maurice Maeterlinck
456:Blind: The intruder
439:Robichez, Jacques.
300:Maurice Maeterlinck
108:Maurice Maeterlinck
55:Maurice Maeterlinck
782:Wisdom and Destiny
268:Maurice Materlinck
167:Aurélien Lugné-Poe
122:, published 1889.
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689:The Last Judgment
417:Five Modern Plays
254:Deak, Frantisek.
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16:(Redirected from
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832:1891 plays
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398:0253308577
231:References
186:Techniques
148:on 20 May
105:playwright
68:1891-05-20
51:Written by
739:Onirology
707:Hothouses
654:Berniquel
528:The Blind
497:Works by
227:in 1894.
221:L'Intruse
205:The Raven
138:Paul Fort
98:L'Intruse
80:Symbolism
598:Joyzelle
556:Interior
521:Intruder
192:Intruder
173:Synopsis
165:talents
162:Intruder
133:Premiere
114:Intruder
89:Intruder
30:Intruder
102:Belgian
66: (
749:Ballet
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94:French
45:(1903)
699:Poems
506:Plays
146:Paris
76:Genre
421:ISBN
393:ISBN
339:ISBN
156:and
150:1891
366:167
140:'s
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
