Robbe-Grillet - Parle De L'Immortelle À La Maison De Rendez-Vous download album
Complete your Robbe-Grillet collection.
Robbe-Grillet's first published novel was The Erasers (Les Gommes), which was issued by Les Éditions de Minuit in 1953. After that, he dedicated himself full-time to his new occupation. His early work was praised by eminent critics, such as Roland Barthes and Maurice Blanchot. Around the time of his second novel, he became a literary advisor for Les Éditions de Minuit and occupied this position from 1955 until 1985. La Maison de rendez-vous (1965). Projet pour une révolution à New York (1970). La Belle Captive (1975). Topologie d'une cité fantôme (1976). Robbe-Grillet repeatedly referred to this book in interviews as not belonging to his literary work, . on Ce soir (ou jamais !) on 24 October 2007. He is reported to have declined an invitation to read extracts from the novel at a literary festival by saying, 'Parce que ce n'est pas de la littérature, c'est de la masturbation!' Les Inrockuptibles; numéro 639, 26 février.
La maison de rendez-vous. L' année dernière à Marienbad.
La Maison De Rendez-vous (French) Unknown Binding – 1966. by Alain Robbe-Grillet (Author). Robbe-Grillet's complex work of fiction.
Directed by Alain Robbe-Grillet. With Françoise Brion, Jacques Doniol-Valcroze, Guido Celano, Ayfer Feray. A sad man meets a beautiful, secretive woman who may or may not be involved in some conspiracy ring dealing in kidnapped women used as prostitutes. After several days of their sadly passionate relationship she disappears. The sad man is unable to locate her as all the local Turkish people pretend not to remember any such woman. He suddenly finds her again (she finds him?) and before she can.
La Maison de Rendez-Vous is a lava lamp of a narrative, a mutating blob that repeats and repeats and repeats, the details always slightly different, with parts breaking off and then folding back in. Repetition is typical in the world of Robbe-Grillet, but it's more intense here, and the story more impossible.
These two novellas demonstrate why Alain Robbe-Grillet, the leading practitioner and theorist of the noveau roman, is one of the most discussed and controversial writers of the post-war era. In La Maison de Rendez-vous, the master of the "new novel" creates a world of crime, intrigue, and passion dominated by Lady Ava's mysterious Blue Villa. Set in Hong Kong, the novella unfolds over the course of one evening, but the events of that night recur repeatedly, from the perspectives of different characters.
La Maison de Rendez-vousWith Hong Kong as the setting, the master of the new novel" creates a world of crime, intrigue, and passion dominated by Lady Ava's mysterious Blue Villa. The novella unfolds over the course of only one evening, but the events of that night recur repeated. show more ▼ ly, and the same moments are described from the perspectives of different characters. The Erasers, his first novel, was published in 1953, and as his next novels appeared-The Voyeur in 1955, Jealousy in 1957, In the Labyrinth in 1959, and La Maison de Rendez-vous in 1965-his importance as the chief spokesman for the noveau roman became apparent.
Robbe-Grillet has also written screenplays, notably for Alain Resnais' 1961 film Last Year at Marienbad, a critical success considered to be one of the finest French films of the 1960s. LA MAISON DE RENDEZ-VOUS (1965) used several points of view, which contradicted each other. The story, focusing on a evening get together, folds back on itself various times. LA BELLE CAPTIVE (1975) was based on the myth of the beautiful captive, and took its themes from the paintings of the French surrealist René Magritte. With Hong Kong as the setting, the master of the new novel creates a world of crime, intrigue, and passion dominated by Lady Ava’s mysterious Blue Villa. The novella unfolds over the course of only one evening, but the events of that night recur repeatedly, and the same moments are described from the perspectives of different characters. Robbe-Grillet creates an unsettling work that challenges his readers’ ideas about subjectivity and objectivity, fiction and fact, and the entire process of story-telling.
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- Producer – Hugues Desalle
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