Contemporary French Theatre and Performance (Performance Interventions)
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This is the first book to explore the relationship between experimental theatre and performance making in France. Reflecting the recent return to aesthetics and politics in French theory, it focuses on how a variety of theatre and performance practitioners use their art work to contest reality as it is currently configured in France.
Renaude’s writing strikes me as the sign of her Luciferian ambition to build a parallel world, one composed of the memory of all the little things in all the little lives which, when forged together, make up Life. Balzac, it is said, was like a civil register. As for Renaude, she does not weave any fates. She is like the schoolboy Cleophas in Alain-René Lesage’s 1707 novel Le Diable boiteux (The Devil on Two Sticks). She lifts the rooves off houses and quickly takes a peek at the rustling words
Intempestifs). Vitez, Antoine (1981) De Chaillot à Chaillot (Paris: Hachette). 5 An Unlikely Scene: French Theatre in the New Liberal Economy Jean-Pierre Han Theatre commentators and even practitioners are frequently asked to provide a survey of theatre today; to press pause on what seems to be developing or unfolding a little too quickly in the eyes of those who prefer to reflect on the matter. Legitimate though such requests may be, particularly when they come from people far-removed from or
that might diverge from the norm out of the official discourse. A recent example (December 2008) is the French Theatre in the New Liberal Economy 87 ‘impossibility’ of taking on tour – a tour that had been agreed with the national funding body Cultures France – the production of Jean-Luc Raharimanana’s 47 directed by Thierry Bedard. The production treated the theme of the largest massacre perpetrated by the French in their colonial Empire, in Madagascar in 1947 (between 80,000 and 100,000
Eragny-sur-Oise, a north-western suburb of Paris in spring 2006. Rokia had to overcome two major obstacles. First, her aunt, with whom she was staying – and who seemed to regard her more as a maid than as a niece – was reluctant to let her take part in an activity that Rokia had chosen to do for herself. Second, Rokia was pensive because she feared the hostile reactions that her life-story might prompt in the workshop process itself. Other participants in the Passarelle, for instance, regarded
her work as a serious, resistant feminist intervention into an idealized Western feminine, and those who dismiss her as a not-to-be-taken-seriously, notorious freak. Looking at the range of the academic responses to Orlan that come from a number of disciplines, including visual, cultural, performance and medical studies, and the many theoretical and critical approaches and discourses through which her work is analysed and framed, I detect a notable and curious absence. While genderbody-technology