Cendrillon, Joël Pommerat, modern denouement, break with tradition, fairy tale, theatre, narrative tense, informal tone, character analysis
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Abstract
Analysis of the denouement of Joël Pommerat's Cendrillon Part II, highlighting its break with traditional tales in form and content.
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[...] She then uses the imperfect to situate an action that takes place in the past. She evokes the moment when the fairy learns from the very young girl what her mother had told her before she died. We notice the very positive, ameliorative way in which the very young girl is presented with the two adjectives 'curious and courageous', we notice the similarity of the endings with the assonance in alliteration in This is a way to emphasize the main character's great qualities. [...]
[...] The tone is still very familiar, very light. The play is in rupture with traditional tales: one understands that the two main protagonists have separated, contrary to the traditional ending thus stated: 'they lived happily and had many children. The end is in some way more modern and takes into account the fact that love is not or is no longer eternal. The language used is very simple and we return to the present of enunciation at the end: am silent and I go away'. [...]
[...] Cendrillon, Part II, scenes 14 and 15 - Joël Pommerat (2011) - Preparatory work for linear explanation and text commentary Step 2 The first movement covers the beginning of the text up to line 7/. It could be titled 'the end of the story'. It can be noted that the language level is informal, which is quite a departure from the tone usually used in fairy tales. The sentences are short, even very short: 'So that's the end of the story. [...]
