Michel de Ghelderode

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Michel de Ghelderode
Adhémar-Adolphe-Louis Martens
BirthplaceIxelles, Belgium
Nationality Belgium

Ghelderode, Michel de


Born Apr. 3, 1898, in Ixelles; died Apr. 1, 1962, in Brussels. Belgian writer. Wrote in French. Dramatist (Death Looks Through the Window, staged in 1918; Maria the Sufferer, 1952) and story writer (“The Pilgrimage,” 1922, and “Sacrilege,” 1941).

Ghelderode’s outlook was ambivalent: he was horrified by the future, he did not believe in men’s rational efforts to change the course of history, and he had a common man’s hatred of private-ownership society and of the individualistic morality of the powerful of this world (the farce Feast of the Beasts, produced in 1919, and the collection of short stories Man in Uniform, 1923). He was saved from decadent despair by faith in the mission of the theater to be a “mirror of nature,” by a Flemish love of life (the drama Don Juan, 1928), by vital ties with the poetics of farcical shows and pantomime (the farce Feast in Hell, 1929) and by ties with experiments in Flemish folk theater (the tragedies Barabbas, produced in 1929, and Pantagleize, produced in 1930).


Théâtre complet, vols. 1-3. Brussels, 1942-43.
Théâtre, vols. 1-5. Paris, 1950-57.


Merl’, R. “Neskol’ko slov o sovremennom frantsuzskom teatre.” Inostrannaia literatura, 1957, no. 4.
Lepage, A. M. de Ghelderode. Brussels-Paris [1960].
Vandromme, P. M. de Ghelderode. Paris [1963].
Delarue, M. “Soirée Ghelderode.” Humanité, Apr. 17, 1969.


References in periodicals archive ?
This is the first video recording of the late Hungarian composer Gyorgy Ligeti's only opera, composed in the 1970s and revised in 1996.The original German-language libretto was penned jointly by Michael Meschke and the composer, adapted from an absurdist farce by Belgian playwright Michel de Ghelderode. It was modified in this revised version with an English libretto, one the composer preferred.
Lovecraft, Hanns Heinz Ewers, Jean Ray, and Michel de Ghelderode. The study, although steeped in psychoanalytic and deconstructionist theory, refreshingly focuses on the primary texts.
Jean-Paul Sartre, Albert Camus y el belga Michel de Ghelderode, influyeron decisiva mente en su obra.
Il Teatro di michel de Ghelderode. Fasano : Schena Editore, 2003.
Feliciano examines his views on class and religion; his apprenticeship in Paris (he studied at the Sorbonne with the help of a Rockefeller Fellowship); his interest in music and architecture; his fascination with a handful of artists, renaissance and existential, including Camus, Sartre, Unamuno, Antonin Artaud (whose theater of cruelty palpitates in Solorzano's stage), Calderon de la Barca, and Michel de Ghelderode; and his compulsion to articulate his mitopoesis around pre-Columbian rituals and medieval autos sacramentales.
Y, en aquellos dias, ya me parecia un privilegio convivir con un dramaturgo admirable precisamente por no ser un autor canonico, como Carlos Solorzano, discipulo y amigo de gigantes como Michel de Ghelderode y Albert Camus, ademas de compartir el aula con un joven dramaturgo no canonico como el autor de Los vortefagos.
En su caso, el Taller de Teatro de la Universidad de Sinaloa, en un dinamico pero redundante montaje por parte de Jose Acosta de Cristobal Colon, del simbolista belga Michel de Ghelderode, volvio los ojos a una escuela y un autor que se sienten irremediablemente envejecidos.