Cette étude intitulé L'intégration du monologue au théâtre de Beaumarchais, s'appuie sur les éléments qui permettent au monologue de s'enchainer au texte théâtral et sur ceux qui lui donnent son autonomie. Cette forme textuelle théâtrale qui se cara
ctérise par une sorte d'autonomie relative, entretient en même temps une relation d'enchainement, de cohérence et de cohésion avec le reste du texte théâtral.
Le début du monologue est souvent conditionné par une sorte de frontière didascalique qui annonce l’accès à un autre domaine énonciatif. En même temps, nous trouvons à l’intérieur du monologue plusieurs domaines énonciatifs, par exemple, le domaine énonciatif principal qui est celui du locuteur et le domaine énonciatif du dramaturge qui s'incarne dans ses différentes interventions à travers les didascalies internes, les indications scéniques, etc.
Le locuteur du monologue joue parfois le rôle du rapporteur du discours ou des propos d'autrui, cela nous mène au sujet du discours rapporté, du discours direct, du discours indirect, du discours indirect libre, etc. , et au sujet de la pluralité des voix dans un énoncé.
The research focused on the axis of the mechanism of diversity of personal performance in monodrama performances and determining the technical characteristics of this diversity. The first chapter dealt with the problem of research which focused on wh
at characteristics the actor possesses during the diversity of performance between the two figures he performs. Are these characteristics related to monodrama as a form The researcher defined the title of his research by (diversity of personality performance in the monodrama theater). Then the researcher examined the importance of research and the research objective which was defined in the recognition of the mechanism of employing the diversity of the performance of the actor in his representation of more than one personality in one show and how to interact with it.he researcher then addressed the limits of temporal، spatial and objective research to conclude the first chapter in the research terms identified by the researcher in diversity، performance، actor and monodrama.As for the second chapter، it was determined in two subjects. The first topic was under the concept of monodrama. The second topic was under the title of the technical characteristics of the diversity of the performance of monodramatic personality.As for the third chapter، it was determined in the research procedures. The researcher dealt with the society and the sample of the research، which was represented by the play "Oil Spot،" written by Mahmoud Abu Al Abbas، prepared and directed by Abdul Rahman and represented by Mohammed Hashim. The researcher analyzed the sample of his research and in the fourth chapter on the results، some of which are provided for example: - Employment of gesture and movement part of the tools representative helps him in the variety of performance from one person to another as well as his knowledge of the personal technique and according to his physical skill as a sign that produces actions distinguish personality from others. The style of psychic representation in monodrama and the diversity of personality performance depends on the presentation of the personality as well as its problematic history. And then conclusions, sources and references.
This paper discusses the ways in which Constance Naden, a major female Victorian poet, used the dramatic monologue genre as a tool for female empowerment and for the acquisition a female voice. It explores the major aspects and functions of tradition
al dramatic monologues and examines the ways in which Naden departed from these traditions: Firstly by redefining the character of the misfit, and secondly by giving the female the role of the active speaker, rendering the male a mere passive silent listener. These aspects are mainly studied in the light of four of Naden's major monologues: "The Astronomer," "The Carmelite Nun,""The Confession," and "The Sister of Mercy.
