Émergence du temps et du sens chez Mallarmé et Debussy
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Abstract
Quelles similitudes, quelles connivences Mallarmé a pu repérer dans la musique de Debussy, comme à l’inverse, quelles intuitions Debussy a-t-il reçu des fameux «mardis» où il alla entendre Mallarmé parler de poésie? L’art de Mallarmé, à travers la théorie de la suggestion, suppose une conception du temps et du sens qui rejoint le temps musical radicalement nouveau qu’instaure la musique de Debussy. Tout d’abord, la recherche des mots fragmente le tissu du temps en instants sonores; puis, dans le mouvement de l’écriture comme dans le mouvement de la lecture, s’ébauche la continuité nouvelle du sens intérieur, subjectif et onirique qui assure le renouvellement indéfini de l’acte poétique dans sa temporalité; enfin, au sein de cette continuité qui établit de nouveaux rapports et de nouveaux liens entre les paroles, leurs sonorités et leurs valeurs imageantes, émerge une nouvelle discontinuité où s’entrechoquent des visions archétypiques et des fantasmes inconscients.
Ce retour de la discontinuité dans la continuité de la conscience – ou peut-être, dans l’inconscient – constitue la temporalité de l’émergence que l’on tentera de mettre en évidence dans l’oeuvre de Debussy, essayant de restituer ce qui frappe le poète lorsqu’il entendit pour la première fois la musique du Prélude à l’après-midi d’un faune.
Les mots clefs: musique et poèsie, Mallarme et Debussy, temps, sense, théorie de suggestion
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