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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."
183:. 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
99:, 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.
170:
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
153:
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
166:
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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149:. 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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197:, a likely association considering that the 1891 benefit premiere followed the play with an actor reciting "Le Corbeau"—poet
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141:, at the Théâtre du Vaudeville, as part of a program of poetry readings and short plays to benefit
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187:, horror, fear, gloom, and awe. Some observers have likened this characteristic to what
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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
278:. The green tree library. Chicago: Stone & Kimball.
201:'s French translation of Poe's influential 1845 poem.
191:
aimed for with his liberal use of the rhyme "-ore" in
271:
408:. Boston: International Pocket Library. p. 75.
233:
http://www.theatrehistory.com/plays/intruder.htmlis
376:. Bloomington: Indiana University Press. pp.
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272:Maeterlinck, Maurice; Hovey, Richard (1894–1896).
245:Symbolist Theater: The Formation of an Avant-Garde
259:, Bettina Knapp, (Twayne Publishers: Boston), 41.
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324:The Marionette Plays of Maurice Maeterlinck
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442:Maeterlinck, Maurice; Vielé, Mary (1891).
353:. New York: F.A. Stokes company. pp.
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372:Archetype, Architecture, and the Writer
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326:. Raleigh, NC: Lulu Press. p. 7.
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247:. Johns Hopkins UP, 1993, pp. 158-62.
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448:. Washington, D.C: W. H. Morrison.
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30:L'Intruse - with illustrations by
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275:The plays of Maurice Maeterlinck
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1:
721:The Massacre of the Innocents
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826:Plays by Maurice Maeterlinck
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785:The Intelligence of Flowers
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133:first produced the play in
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764:The Treasure of the Humble
608:The Miracle of St. Anthony
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114:The play is dedicated to
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347:Bithell, Jethro (1916).
792:The Life of the Termite
559:Aglavaine and SĂ©lysette
552:The Death of Tintagiles
432:. L'Arche, 1957, p.495.
368:Knapp, Bettina (1986).
322:Booth, Francis (2011).
89:) is a one-act play by
746:The Dance of the Stars
671:The Three Justiciaries
615:The Mayor of Stilmonde
538:Alladine and Palomides
404:Brown, Edmund (1987).
158:and Georgette Camée.
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636:The Power of the Dead
629:The Cloud That Lifted
531:Pelléas and Mélisande
53:20 May 1891
566:Ariane and Bluebeard
524:The Seven Princesses
301:Maurice Maeterlinck,
205:English translations
778:The Life of the Bee
488:Maurice Maeterlinck
445:Blind: The intruder
428:Robichez, Jacques.
289:Maurice Maeterlinck
97:Maurice Maeterlinck
44:Maurice Maeterlinck
771:Wisdom and Destiny
257:Maurice Materlinck
156:Aurélien Lugné-Poe
111:, published 1889.
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678:The Last Judgment
406:Five Modern Plays
243:Deak, Frantisek.
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821:1891 plays
815:Categories
387:0253308577
220:References
175:Techniques
137:on 20 May
94:playwright
57:1891-05-20
40:Written by
728:Onirology
696:Hothouses
643:Berniquel
517:The Blind
486:Works by
216:in 1894.
210:L'Intruse
194:The Raven
127:Paul Fort
87:L'Intruse
69:Symbolism
587:Joyzelle
545:Interior
510:Intruder
181:Intruder
162:Synopsis
154:talents
151:Intruder
122:Premiere
103:Intruder
78:Intruder
19:Intruder
91:Belgian
55: (
738:Ballet
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83:French
34:(1903)
688:Poems
495:Plays
135:Paris
65:Genre
410:ISBN
382:ISBN
328:ISBN
145:and
139:1891
355:167
129:'s
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396:^
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378:13
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
