La scène théâtrale contemporaine au plus proche du réel pluriel : quels recommencements ?

Abstract : Authors/directors (or author / director duets) analyzed in our study are interested in the real in its plurality, without having an image of the world: they seem to have integrated "the end of the world". Their writing is fully inscribed in our “de- worlded” world. It seeks to be located as close as possible to the profusion and the dispersion which characterize it. But the ambition of these artists is not just to show the end of the world. They deal with what comes after, in a hurry to feel (or to give the feeling of) what this end can open to: to which life worth living? to which possibility to inhabit the real? If they have mourned the world as a whole-structure and a place for men in such an order, they have not mourned, however, the possibility of (re)doing (the) world. Their gestures seem underpinned by the need to open to such new beginnings. Within the corpus we have studied, this dissertation identifies three theatrical veins, opening to three types of praxes of the world: first, a theater of the approval of the real (that of Philippe Dorin and Michel Froehly); second, theaters of the remaking of the real (those of Pascal Rambert, and of Olivier Cadiot and Ludovic Lagarde); third, theaters opening, if only one moment, to the possibility of a “conversion” of the world (those of Joël Pommerat, Jan Lauwers, and Nature Theater of Oklahoma). It analyzes the forms which these theaters invent to represent or implement these new beginnings, and in doing so restore a “belief in the world”. What is at stake, in most cases, seems to be the invention of a theater of the “belief in the world”.
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Marie Vandenbussche-Cont. La scène théâtrale contemporaine au plus proche du réel pluriel : quels recommencements ?. Art et histoire de l'art. Sorbonne Paris Cité, 2015. Français. ⟨tel-01722470⟩



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