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French

ID: <

10670/1.j76acx

>

Where these data come from
Practice and poetic of the Koltesian didascalie

Abstract

Most of the dramaturges of the 20th century follow the same educational development: more and more involvement and expert involvement in the entertainment sphere thanks to more, more precise and more technical indications. On the contrary, Koltès has constantly removed its control text from the real scene, from stripping it from the most material, technical and functional tutorials. Discreet but real at the beginning of his career, the scenic reluctance stuck quickly and affirms itself. From the moment, despite seemingly different ways of teaching — from extreme nudity to diffuse literacy, through the deaf voice and epitexual opening with generic hybridisation — there is no real break in Koltès’s didascalic voice, just a ripening. The leak line therefore remains unchanged: dematerialisation/detechnicisation and re-literarisation of the brochure. “I thought that the theatre text should not necessarily be just a material for a show, but could be read, like a novel, if we were trying to give him a shape to read,” Koltès said in 1985. We cannot better express the desire to avert the scenic fatality of theatre: there is a life of the room outside it on stage. In this liberation company, the didascalie — assault and flattened at the heart of the work but thick and hybrid in the margins — has a role of choice.

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