fr | en

Séparés par des virgules

David PouliquenAnglais

    • Faculté des lettres, langues et sciences humaines
    • Etudes anglophones - Enseignants et Chercheurs
    • 11 bd Lavoisier - - 49045 - Angers cedex 01
    • Anglais
    • B 230
    • B 230

    Google Maps

    Afficher UFR de Lettres, Langues et Sciences Humaines sur une carte plus grande


    Translation Studies

    Thèmes de recherche

    The Operatic Adaptations of Shakespeare's Tragedies

    My current research examines the operatic adaptation of Shakespearean tragedy. It tackles the problem of how to reconcile the source work with the target work. Antoine Berman justly highlights the sufferings occasioned by translation and stresses that no reflections can escape this. Following A. Berman’s lead, I started looking for the postulated scars left on the body of the target work by this transformation. Locating and labelling them facilitate the listing of precisely all the various translational operations, which are similar to real surgeries pragmatically speaking, in the particular case of the translation of Elizabethan or Jacobean dramas into Italian or French Romantic operas. We should, moreover, observe at first the forces that come into play in the protean relationship between the two works, only seemingly motionless, before subsequently theorizing about their dynamics. I postulate that the adapted work is in a state of perpetual activity and its surface, as a result, is subject to continuous undulations, or even shaking. Proceeding from this basic premise, we will try to discover the origins of a hypothetical ‘volcanism of adaptation’, asking ourselves, on the one hand, how the catalytic process would work and, on the other hand, considering the reasons for such an effervescence through experimental procedure. It will mainly involve manipulating ‘musico-gestural and textual’ samples. Finally, the semiotic magmatism of drama and opera, seen at the same time as communicating vessels and delimited art forms, necessitates the application of an interdisciplinary and comparative approach. The primary purpose of my work, for it is a leap forward in the loose conglomeration of the studies of musical adaptation of Shakespeare’s plays, is to identify the key parameters for describing the interactions between the ‘departure work’ and the ‘arrival work’. Then, to measure the impact that an artistic operator, seen as a theatre practitioner, can have on the systemic unity of the two works by moving the cursors of the proposed parameterization. I put forward the hypothesis that adaptation, as an autonomous work of art, or even an art form, is located in the space or interval between the source work and the target work. My present research is meant to be a manifesto in favour of what I call ‘Art Tectonics’—that is, a reflection of ‘the study of the processes by which the earth’s crust has attained its structure’—a real paradigm shift which merges intertextuality with the mechanics of adaptation, and hence offers great prospects. A new, institutionalizable field of study has begun to spring up.

    Keywords: Comparative Literature and Cultural Studies / Musical Adaptation / Nineteenth-Century Opera / Theatre and Performance / Vocal Technique / Hellenic Studies / Roman Studies / Shakespearean Exegesis / Elizabethan England / Jacobean England / English, French, and Italian Poetry in the Renaissance / European Romanticism / Aesthetics and the Arts / Staging and Scenography.



    I- Social Philosophy

     Decentralisation in Parliamentary Democracies, The Role of Force

    II- Music and Consciousness

     Effects of Sound on Living Organisms and Cells, Music Therapy


    Dr David Pouliquen

    MA, PhD in Scienze Umanistiche (Unimore), PhD in Music (Rennes 2)


    Qualifié aux fonctions de Maître de conférences en onzième section (11) : « Langues et littératures anglaises et anglo-saxonnes » du Conseil national des universités (CNU). Rapporteurs : Mmes les Professeurs Sarah HATCHUEL, Présidente de la Société française Shakespeare, et Catherine LISAK 



    University of Angers, France

    Postdoctoral Fellow (ATER), January 2018-Present

    Affiliated to the Research Unit 'Languages, Literatures, and Linguistics' (3L.AM), EA 4335

    Associate Member of the Research Unit 'CIRPaLL', EA 7457


    High Council for Evaluation of Research and Higher Education (Hcéres), Paris, France

    Expert « jeune docteur », accredited for three years, 28 November 2017

    Université of Rennes II, France
    Associate Member of the Research Unit 'Arts: Practices and Poetics' (APP), 2016-Present
    Music Laboratory, EA 3208


    Università degli studi di Modena e Reggio Emilia, Italy

    Dottorato di Ricerca/PhD in Scienze umanistiche, 21 september 2016

    Dissertation: 'Dal dramma shakespeariano alla tragedia in musica : mutazioni, intertestualità e interpretazione'

    Committee: Profs. Giordano Ferrari (chair), Joseph Delaplace, Giovanna Bellati, and Franco Nasi


    Université Rennes 2, France

    PhD with Distinction in Music, 23 mai 2016

    Dissertation: « De la tragédie parlée shakespearienne à la tragédie lyrique: mutations, intertextualité et interprétation »

    Committee: Profs. Giordano Ferrari (chair), Joseph Delaplace, Giovanna Bellati, and Franco Nasi


    Université de Bretagne-Sud, Lorient, France

    MA, Literatures and Languages, September 2012

    Thesis: « Du théâtre à l’opéra. De l’Othello de Shakespeare à l’Otello de Verdi »

    Advisor: Professor Jean Peeters, President of the University of South Brittany

    BA, English ( Licence LLCE), 2010


    Richard Cowan's Voice and Opera Studio, France and the United States

    Fellow, January 2007-October 2015

    American Bass-Baritone Richard Cowan has sung at the Metropolitan Opera (Title role of W. A. Mozart's Don Giovanni), Lyric Opera of Chicago (Escamillo in G. Bizet's Carmen), Opéra national de Paris (Bosun in B. Britten's Bbilly Budd) and other venues throughout the world. He is the founder of Lyrique-en-mer, Opera Festival.


    CUBEC - Accademia di Belcanto Mirella Freni, Modena, Italy

    Selected Participant for Mirella Freni's Masterclass, 2013


    Canari International Opera Festival, Corsica, France

    Selected Participant for Gabriel Bacquier and Michèle Command's Masterclass, 2011


    Lyrique-en-mer Opera Festival, France
    Selected to join the Young Artists Programme in 2007, 2008, and 2013

    - Fiorello in Rossini's Barber of Seville 

    Artistic Director: Richard Cowan, Music Director: Philip Walsh 

    Works performed:

    Giuseppe Verdi's La Traviata, Jacques Offenbach's Les Contes d’Hoffmann, Giacomo Puccini's Tosca, Gioachino Rossini's Il barbiere di Siviglia, Georges Bizet's Carmen, Wolfgang Amadeus Mozart's Mass in C minor, Georg Friedrich Haendel's Messiah, Johannes Brahm's Ein Deutsches, Requiem

    Singers with whom I performed:

    Lyubov Petrova (Metropolitan Opera), Thomas Glenn (Grammy Award, 2012), Tyler Simpson (Metropolitan Opera), Jonathan Beyer (Metropolitan Opera), Gioacchino Lauro LiVigni (Metropolitan Opera), Keith Harris (Metropolitan Opera), Lori Guilbeau (Metropolitan Opera)...

    Conductors with whom I collaborated:

    Philip Morehead (Head of Music Staff of the Lyric Opera of Chicago), Jeremy Bines (Royal Opera House...), Philip Walsh (Cambridge University, Teatro La Fenice...)


    Richard Cowan, Michèle Command, Marija Sklad-Sauer (Professor am Konservatorium der Stadt Wien), Gioacchino Lauro Li Vigni, Tiziana Tramonti (Istituto Superiore di Studi Musicali 'O. Vecchi - A. Tonelli' di Modena), Danièle Alexandre-Scotté (CNR Rennes), Didier Helleux (CRD Lorient), Roberto Baccarini (Maestro Arrigo Pola's disciple, Cantor at the Cathedral of Modena)


    National Conservatory of Dramatic Arts, Rennes, France

    Jacqueline Resmond's Acting Classes, year of 2008-2009


    Actor Studio, Paris, France

    Joël Buis's Acting classes, 2009




    École Supérieure des Sciences Commerciales d'Angers (ESSCA), France

    Examiner for Entrance Orals, May 2018


    École Supérieure des Métiers du recrutement et de l’intérim (ESMAE - Paris), France

    Lecturer and Examiner, Autumn Term, Year of 2017-2018

    Thirty-five Hours of Teaching at Undergraduate Level (Bac +3) 


    Lycée Beaumont, France

    English Teacher, Autumn Term, Year of 2017-2018

    18 Teaching Hours per Week

    Undergraduate Level (BTS) plus Sixth Form-level: 'seconde, première (L, STMG) et terminale (L)'


    Lycée Bertrand d'Argentré, France

    English Teacher, Autumn Term, Year of 2017-2018

    18 Teaching Hours per Week

    Sixth Form-level: 'seconde, première (ES, S, STMG) et terminale (L)'


    The Leys, Cambridge, United Kingdom

    French Language Assistant, CIEP and British Council, year of 2016-2017
    - Sixth Form Preparation for Examinations
    - Team Teaching
    - Extra-Curricular Activities: Chess Training (I helped prepare one of my pupils, rising chess star Peter K. (Y11) who joined England Junior International Team), Singing Competition




    Université d'Angers - Università degli studi di Modena e Reggio Emilia, France - Italy

    Erasmus + Agreement, Department of English Studies, year of 2016-2017


    Université Rennes 2 - Università degli studi di Modena e Reggio Emilia, France - Italy

    Erasmus + Agreement, Department of English Studies, year of 2016-2017


    CUBEC - Accademia di Belcanto Mirella Freni, Modena, Italy

    Visiting Research Fellow, year of 2012-2013


    Université Rennes 2 - Università degli studi di Modena e Reggio Emilia, France - Italy

    Agreement for Joint Supervision of Doctoral Studies, 2013

    (Accord de cotutelle internationale de thèse)

    Leading to a double PhD, Double Major: Music and Translation Studies

    Co-Negotiator of the Agreement plus legal translation 


    Università degli studi di Modena e Reggio Emilia, Italy

    Erasmus Student, Graduate Studies in Translation Studies, year of 2011-2012



    Master’s Certificate for Cruisers, Watersports Club of the French Navy, 2016

    Qualified for the French National Championship, 2003



    [En construction]




    Cardiff University - Royal Musical Association - The Learned Society of Wales, UK

    Delegate to the International Symposium: Translation in Music, 25 - 26 May 2014

    Paper Entitled: 'Desdemona’s Handkerchief: An Operatic Misunderstanding'

    Opera in Translation: Historical Case studies I (Chair: Dr Clair Rowden, Cardiff University)


    University of Rennes II, France

    PhD Viva: « De la tragédie parlée shakespearienne à la tragédie lyrique: mutations, intertextualité et interprétation », 23 mai 2016

    - Graduate Research Symposium - Faculty of Arts, Literature and Communication (ALC)

     Paper Entitled: « La transdisciplinarité ou le parti du sens », 31 January 2014.


    Région Bretagne, France

    Lecturer - Dispositif Karta, 15 November 2013

    Paper Entitled: 'From Voltaire's Philosophical Tale Candide to Leonard Bernstein's Comic Operetta'

  • Courriel : david.pouliquen @