LE MONDE CLOS DU THÉÂTRE LA NUIT, ENTRE DISCOURS POLITIQUES ET CONFIDENCES D’ARTISTES
THE CLOSED WORLD OF THE THEATRE BY NIGHT, BETWEEN POLITICAL DISCOURSE AND ARTISTS’ CONFIDENCES

Summary/Abstract: The Closed World of the Theatre by Night, between Political Discourse and Artists’ Confidences. Ever since the Hugolian struggle between shadow and light, theatre has encompassed the night to generate climates adequate to political mutations. Now, with the advent of Bertolt Brecht, theatre exposes itself as the place and location of discourse. L’Achat du cuivre, while exposing the theoretical issues of epic theatre, brings on a novelty in the link it seals between theatre and night, forming the ideal frame of meta-theatricality. Almost sixty years later, while issues of political struggle changed a lot, the closed space of theatre by night offers a frame to introspection. From La ronde de nuit by Theatre Aftaab (Afghanistan) under the protection of Théâtre du Soleil, to the old actors embodied by Jean-Paul Roussillon in Chekhov’s Le Chant du cygne directed by Alain Françon and Michel Piccoli in Minetti staged by André Engel, floats the doubt between reality and fiction. Far from the demonstrations of the Philosopher in L’Achat du cuivre, theatre and night, in a recovered intimacy between the actor and the public, hustle usual landmarks and leave the following question hanging: who, in the end, takes up the stage?

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