• Books excluding puppets

Creators: Jean-Pierre Sarrazac, Catherine Naugrette, Georges Banu

| Contents/Chapters: From a theatrical point of view, there are two main types of testimony. One could be called political, the other intimate. And, of course, there's nothing wrong with combining them. In any case, both are distinguished by a kind of detachment from the action, by their function of looking at the events that make up the fable. The common denominator of these two witnesses is that they are neither acting characters in the Aristotelian sense, nor characters endowed with goals of action, as Hegel specifies. On the contrary, there is a certain passivity in them. On the one hand, the Brechtian character, who presents himself as the eyewitness to an event, an accident - a "street scene". On the other, man as a witness to himself, i.e., to his own suffering. From Giorgio Agamben's analyses, we can see that when a man bears witness to what he himself has experienced, it is always, in a kind of doubling, to another than himself - or to another within himself - that he endeavors to give voice: the one who, precisely, has experienced suffering to such an extent - Agamben speaks of the Shoah - that he cannot say it, and remains mute. The "gesture of bearing witness", which is the subject of this book, concerns writing as much as staging and acting. In this way, it constitutes a "device" for modern and contemporary theater. Theater practitioners have been widely invited to contribute to this publication, alongside researchers. | Materials: 192 p.; black & white ill., color cover ; 24 cm

Call number : 14.5. Théâtre : Recherche, essais