The theatre of the real in France, Great Britain, and Poland: self-representations at the turn of the 21st century ; Le théatre du réel en France, en Pologne et en Grande-Gretagne : les autoreprésentations sociales au tournant du XXIe siècle

Abstract

Accès restreint aux membres de l'Université de Lorraine jusqu'au 2065-10-25 ; In theatrical programming at the turn of the century in France, Great Britain, and Poland, a consistent and significant number of performances have been identified as belonging to one particular aesthetic: the theatre of the real. This object of historical study seemed to us a way to understand not only a particular aesthetic, more or less similar in these three countries, but also the attitude of the three societies, distinct, but sharing the same redefined European context, to a social reality, past or present, evoked on stage between 1997 and 2010. From theatrical creation at this time emerged a new perception of accessibility to reality, and also a desire for immediacy, for artists as well as for the spectators. The materiality of the body on the stage, the veracity, and the presence of witnesses are used to create a link between the intimacy of the spectator and the social dimension of the message. Another social change is thus perceptible. The relationship between theatrical institutions and the political bodies that support and finance them changes. The theatrical institutions are asked to participate in the maintenance or reconstruction of social "ties" and inclusiveness. At the same time, the politics seems to fade away in favour of an ethical consensus. By putting the consensus into the heart of the theatrical project (Polish-German reconciliation, rehabilitation of self-esteem of the unemployed, making the spectators sensitized to the violence exerted in history, including genocide), artists fulfil an ethical mission and foreshadow a political state of contemporary societies that no longer conceive the political and social conflict according to a binary model ; Cette thèse propose une approche historique de l'esthétique théâtrale européenne qui entretient avec le réel une relation dynamique. Dans la programmation théâtrale au tournant du XXIe siècle de trois pays (France, Grande Bretagne et Pologne), un ensemble cohérent et ...