ORAGE MYSTIQUE DE FRANÇOIS DE CUREL : MISE EN QUESTION DE LA « PIÈCE BIEN FAITE »

François de Curel, whose theater has fallen somewhat into oblivion, is considered a representative of “problem plays” However, despite the author’s attachment to the classical tradition, he was criticized for scuttling the very fundamental dramatic art. In fact, while studying Orage mystique (Mystical Storm), we are forced to note that he resolutely turns his back on the regulatory principles of the fable, principles inherited from Aristotelian conceptions. If the first act of the drama seems to comply with the formal constraints of a “well-made play”, from the second, the writer breaks the course of the linear action to focus not on the dynamics of events, but on psychic life of the protagonist. In this way, Curel seems to propose the new dramatic paradigm, where, instead of interpersonal conflicts meant to push the action forward, we see intrasubjective clashes unfolding within the central character’s psyche