By Clare Finburgh, Carl Lavery
This can be the 1st e-book to discover the connection among experimental theatre and function making in France. Reflecting the new go back to aesthetics and politics in French conception, it makes a speciality of how quite a few theatre and function practitioners use their paintings to contest fact because it is presently configured in France.
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Extra info for Contemporary French Theatre and Performance
According to critic Bruno Tackels, this meant that Gabily’s work was not forced to choose between the alternatives of emotion or intellect, entertainment or education: Gabily’s direction – like his writing – is in mourning for the passing of collective knowledge. His theatre does not set out any truths, nor does it teach us anything. It shows us what happens when there is no knowledge, and truth falters under the weight of history. It gives ‘Textual Material’ in Performance 35 voice to the mind-numbing world that results from the attempt to understand a forbidden world that defies comprehension, a world of war, of memory, poetry and desire – a world in conflict with the body.
1 By this he meant that theatre had finally liberated itself from being seen as dependent on literature, and that the art of mise en scène had come to be recognized in its own right. The energy behind this achievement came in large part from the expanding decentralization movement of the 1950s and 1960s, inspired by the ideal of théâtre populaire, or theatre for all. This had seen young theatre companies establish themselves all over France in regions previously deprived of live theatre. Following the lead of Jean Vilar, who founded the Avignon Festival in 1947, their aim was to bring productions of the classic and modern repertoires to a wide popular audience.
16. and Wee, 2010: 1–22). And, in this context, it is telling that no French scholar contributed to the 2010 volume Contesting Performance: Global Sites of Research which sought to offer a more internationalist perspective on Performance Studies. Similarly, as Jean-Marie Pradier points out in an excellent article on the troubled or (almost invisible) history of Performance Studies in France, 84 per cent of delegates at the 2001 international conference of Performance Studies (PSi) came from the United Kingdom.