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<Text textformat="02" language="fre">&#60;p&#62;Marcel Achard, prince du théâtre de boulevard et scénariste prestigieux, réunit en sa personnalité une relation amour-haine avec le cinéma qui fut celle d'une génération entière d'écrivains et de dramaturges (Henri Jeanson, Henri Bernstein, Sacha Guitry&#8230;). On voit bien à travers les meilleures prestations cinématographiques d&#8217;Achard (la collaboration avec Ernst Lubitsch sur La Veuve joyeuse, L&#8217;Alibi de Pierre Chenal, L&#8217;Étrange M. Victor de Jean Grémillon, et surtout l&#8217;admirable Madame de&#8230; de Max Ophuls) qu&#8217;il possédait un sens et une ambition scénaristique qui allaient bien au-delà du dialogue bien troussé. Quoique de façon inégale, La Valse de Paris, sa propre réalisation, situe sa sensibilité. C&#8217;est cette zone franche entre cinéma et théâtre que le présent numéro entend explorer.&#60;/p&#62;</Text>
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<Text textformat="02">&#60;p&#62;Remerciements&#60;br /&#62;
Christian Viviani: Marcel Achard (1899-1974), introduction et éléments biographiques&#60;br /&#62;
Essais&#60;br /&#62;
Nicolas Boscher : « Les scénaristes sont les seuls auteurs des films :&#60;br /&#62;
fais en sorte qu'on le sache. Amitiés»&#60;br /&#62;
Lionel Pons : Le style et la dramaturgie chez Marcel Achard : éléments de réflexion à travers le scénario et les dialogues de Madame de&#8230;&#60;br /&#62;
de Max Ophuls&#60;br /&#62;
Marie Cadalanu : De La Veuve joyeuse à La Valse de Paris. Marcel Achard et le film musical&#60;br /&#62;
Témoignages&#60;br /&#62;
N. T. Binh : À propos d'Achard et des metteurs en scène de théâtre. Entretien avec Catherine Salviat, comédienne, filleule de Marcel Achard&#60;br /&#62;
N. T. Binh : Mon « onk' Marcel»&#60;br /&#62;
Les pièces de théâtre de Marcel Achard&#60;br /&#62;
Marcel Achard et le cinéma&#60;br /&#62;
Éléments bibliographiques&#60;br /&#62;
Résumés&#60;br /&#62;
Notes sur les auteurs&#60;/p&#62;</Text>
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<Text language="fre">&#60;p&#62;&#60;!--StartFragment--&#62;&#60;/p&#62;  &#60;p class="texte"&#62; Depuis un siècle, théâtre et cinéma interrogent le monde, s'offrant mutuellement des représentations nouvelles, des formes pour réfléchir, des ruptures pour aiguiser l'intelligence, des &#339;uvres pour modifier leurs visions.&#60;/p&#62;  &#60;p class="texte"&#62;On ne compte plus les exemples d'enrichissement respectif. Ainsi, plutôt que de juxtaposer théâtre et cinéma, &#60;i&#62;Double Jeu&#60;/i&#62; entend éprouver ces deux arts à des hypothèses, des problématiques, des regards qui leur soient communs, interroger l'un avec les concepts de l'autre et réciproquement ; et bien entendu se placer à leur articulation, là où des jonctions et des passerelles sont possibles, là où des frottements se font sentir, là où il y a du jeu.&#60;/p&#62;  &#60;p class="texte"&#62;&#60;i&#62;Double Jeu&#60;/i&#62; est la revue des Arts du spectacle rattachés au &#60;i&#62;LASLAR&#60;/i&#62; qui accueille chercheurs permanents et contributeurs occasionnels, afin d'instaurer entre les spécialistes des Arts du spectacle un dialogue aussi fructueux que celui qu'ont engagé depuis un siècle les praticiens et les créateurs.&#60;/p&#62;  &#60;p class="texte"&#62;La revue est diffusée sur OpenEdition Journals, en libre accès, avec une barrière mobile d&#8217;un an : &#60;a class="spip_url spip_out auto" href="https://journals.openedition.org/doublejeu/" rel="nofollow external"&#62;https://journals.openedition.org/doublejeu/&#60;/a&#62;.&#60;/p&#62;  &#60;p&#62; &#60;/p&#62;  &#60;p&#62;&#60;!--EndFragment--&#62;&#60;/p&#62;</Text>
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