La presencia de la materia epistolar en el Nouveau Roman y el Nouveau Théâtre

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espanolThe present article aims to analyse the presence of the epistolary material in the literary renovation materialised by the scriptural practices of the New Novel and The Theatre of the Absurd. The analysis of the different works –La Derniere Bande (1959) by Samuel Beckett, Le Fiston and Lettre morte (1959) by Robert Pinget, Histoire (1967) by Claude Simon, Correspondance and Reflexions (1968) by Louis Palomb, Aurelia Steiner (1979) by Marguerite Duras– will allow us to determine how their authors instrumentalise the epistolary material to show the impossibility of its realization. The epistolary device then becomes a tool of the rule-breaking practices of these new literary experiences, causing a metamorphosis of the letter that is essential in its evolution within the literary and theatrical space. The missive is generated as a radical expression of subjectivity and as a denial of its communicative characteristics and its possibilities of self-objectivation; it shows a identitary crisis which materialises in the human being’s inability to narrate and narrate oneself, to comunicate. francaisLe present article vise a analyser la presence de la matiere epistolaire dans le renouvellement litteraire materialise par les pratiques scripturales du Nouveau Roman et du Nouveau Theâtre. L’analyse de differents ouvrages – La Derniere Bande (1959) de Samuel Beckett, Le Fiston et Lettre morte (1959) de Robert Pinget, Histoire (1967) de Claude Simon, Correspondance et Reflexions (1968) de Louis Palomb, Aurelia Steiner (1979) de Marguerite Duras– nous permettra de determiner comment leurs auteurs instrumentalisent la matiere epistolaire pour montrer l›impossibilite de sa realisation. Le dispositif epistolaire devient alors un outil des pratiques de rupture de ces nouvelles experiences litteraires, provoquant une metamorphose de la lettre essentielle pour son evolution dans l’espace litteraire et theâtral. La lettre est generee comme une expression radicale de la subjectivite et comme une negation de ses caracteristiques communicatives et de ses possibilites d’auto-objectivation ; elle montre une crise identitaire qui se materialise dans l’incapacite de l’etre humain a raconter et se raconter, a communiquer.