Published 11/10/2010
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Abstract
After dwelling on the analysis of the poetics of silence in the Belgian playwright, the essay is intended to investigate the dialogue in Maeterlinck’s first works. The refusal of the classical mimesis leads towards a dialogue that mirrors the dynamics of the unconscious, adding a precious further level of reading which goes beyond superficial, immediate communication to reach a universal meaning. Words seem to recover a primordial dimension and the unsaid is used to convey what the limits of language cannot express. The result is an impersonal, uncommunicative, fragmented dialogue, saturated with repetitions and echoes, deprived of logical connections and interspersed with exclamations and pauses to enhance anxiety and lack of dynamism.