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 concept, it specializes in how numerous theatre and function practitioners use their artwork to contest fact because it is at present configured in France.
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Extra info for Contemporary French Theatre and Performance
Debord, Guy (1983) Society of the Spectacle, trans. Donald Nicholson-Smith (Detroit: Black&Red). Defosse, Françoise (1971) ‘La Nouvelle Compagnie d’Avignon’, Travail Théâtral, 5 (October–December), 7–14. , trans. Graham Burchell and Hugh Tomlinson (London: Verso). Féral, Josette (2002) ‘Theatricality: The Specificity of Theatrical Language’, SubStance, 31: 2/3, 94–108. Féral, Josette and Donia Mousef (eds) (2007) ‘The Transparency of the Text: Contemporary Writing for the Stage’, Yale French Studies, 122.
Since mass culture’s raison d’être is its rapid and ready production and consumption, it has little desire to challenge the consumer’s creativity or imagination. ’ (in Milin, 2002: 26; our translation). 29 In this book, we therefore understand the deconditioning, or rupture with the representations with which people might unthinkingly construct themselves and their society, to be political. France’s aestheticized theatre can therefore be read in terms of its latent humanism, rather than its supposed social abstention.
Contemporary creativity has ignored and abandoned them. Not enough energy has gone into promoting new writing. […] Theatre responds to moments of social fracture in new writing. It is one of the main challenges for 36 Contemporary French Theatre the coming years, along with establishing a new relationship with the audience. (1997: no pagination; my translation) According to Nordey, the key failure that needed addressing was the abandonment of contemporary creativity by the major state-subsidized theatres.