Article
French
ID: <
10670/1.pcp3ah>
Abstract
In order to understand the qualities and virtues of the “poor” object in contemporary theatre, it is necessary to return to Thadeusz Kantor and the use that he advocated of an object that was ousted from real, even a condition for the actor to be on the scene. The mental power of objects that fail on stage contributes in particular to bringing the theatre closer to plastic practices. Literally invisible, mesonymic indices of a whole or more directly metaphoric, we will look at the different ways in which they are inserted. They mark the various criticisms and alternatives of naturalism in modern theatre, from Meyerhold to Grotowski (craftsman of the ‘poor theatre’) and Brecht. The object comes with a loophole and mystery (the object found to be dear to André Breton) towards a world that has rejected it as a fragment of its traumatic episodes. How has the object turned into history since the 1970s and has resulted in disaffection for metaphor, encouraged in contemporary theatre (Theatre of Cuisine, Theatre de la Licorne, Theatre du Radeau, etc.) by a relationship with the object that has become “DIY”?