Tropismes et expérience radiophonique : la vocalité comme sens chez Nathalie Sarraute
This thesis looks at the importance of vocality in the works of Nathalie Sarraute. More specifically, the research focuses on how the addition of sound, a unique characteristic of vocality, can influence the making and reception of a work of art. Since many of Sarraute’s works for theatre were originally created for radio, a medium where meaning is conveyed only by sound, we will study the voice’s different functions, and how tropisms, « interior movements that precede and prepare our words and actions, at the limits of or consciousness » (L’Ère du soupçon, 1956) develop throughout these works. The research focuses on the written and recorded for radio versions of Nathalie Sarraute’s last play, For no Reason (1980-1981). Our aim is to better understand the impact of voice in each of the versions. First, we will take a glance at Sarraute’s beginnings in the arrays of radiophonic creation, and how she adapted her writing for this new medium. Second, we will look at the production and broadcasting conditions upon the play’s initial release. Finally, with a comparative analysis of the written and recorded versions of the play, we will try to compare the reader and the listener’s experiences, to better understand the importance of voice in both versions.  Keywords : Nathalie Sarraute, Radio Theater, Radio play, Radio, For no Reason, Orality, Vocality, Voice, Tropism, New Novel, Intermediality
Nathalie Sarraute Radio Radio Theater Radio play For no Reason Orality Vocality Voice Tropism New Novel Intermediality