PDF La Bête humaine (Classiques t. 7) (French Edition)

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Section 13 - La bête humaine

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New Softcover Quantity Available: 1. Published by Gallimard New Softcover Quantity Available: 4. Gallix Gif sur Yvette, France. Published by Gallimard , Paris New paperback Quantity Available: 5. La bete humaine Paperback Emile Zola. Published by Gallimard, France New Paperback Quantity Available: 1. New Quantity Available: 6. Published by Editions Flammarion Chiron Media Wallingford, United Kingdom. BookVistas New Delhi, India. It is very easy to blur and blend scenes there - the cuts are somehow smoother than tv or film and definitely more than stage.

I think there's something interesting about trying to talk about 'the invisible' in a non-visible medium.

I also really liked the idea of having two such contrasting books to write one after another that would be broadcast one after another. Although I think the story will be very recognisable to anyone who has read the book, I've decided to change a great deal. It felt a good way to intensify the shock of 2. But since the thing is so ahistorical anyway, I don't think it matters very much.

Though, following a suggestion from the production team, I've placed her in Les Tulettes with Didi. I've made Hubertine a single mother. In the book she is married to Hubert and are sadly childless after an earlier traumatic failed pregnancy. I have taken him out of the picture.

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First, he adds very little to the narrative drive. Second, I think there's something very interesting about focusing on the mother-daughter relationships in the book of which there are several but also thinking about the dominance of the Virgin Mary image as mother of us all in this kind of Catholicism.

Third, I quite wanted to make this, as far as possible, all female. Finally, it keeps the adaptation more focused to limit the characters. Yes, making it all-female. Family is a very male play; it's three men and a woman and the men mostly dominate.

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It's about matriarchy, capitalism and swagger. It's blokey, deliberately so. Also the form in which I've tried to write it is the mainstream theatre narrative style of the period, the 'well-made play' the adaptation is all entrances and exits, secrets and revelations which feels to me part of the official culture of the period.

In fact, there is one male voice in the production. I wonder if you'll spot it. And whether you'll identify it. The most difficult male character to remove is Felicien. I've narrated all his appearances. At first I hope this won't be noticeable; then I guess some people will think 'oh couldn't they afford another actor'; then I hope it adds to the ambiguity about whether he even exists.

I've slightly adjusted Felicien's story, too. In the book I think there is some ambiguity about him, but Zola begins with the statement that the Bishop's son is the last of a long noble line. The Bishop himself began as an international playboy but later repented and converted after the death of his wife. I've removed the Bishop's backstory. This made it easier to understand how her romance with Felicien is a delusion. In the book, it is clear that the Bishop had chosen another, more high-born, woman for Felicien.

I've removed that suggestion, for clarity. But in fact, in the final draft, I've pretty much removed the whole noble line story; all that really matters is that Felicien is a sexy young man. The rest, as a result, is all in her head.