Le théâtre tardivien entre diairesis et sunagôgè (Tardieu’s Theatre between Diairesis and Sunagôgè)
Le théâtre tardivien entre diairesis et sunagôgè (Tardieu’s Theatre between Diairesis and Sunagôgè)

Summary/Abstract: With the aesthetical project in mind of composing a theatre à lawell-tempered clavichord (Clavecin bien tempéré du théâtre), Jean Tardieumanages to achieve it due to a couple of oxymoronic gestures, that isdiairesis and sunagôgè. If the former suggests an irreverent theatre (theresult of the re-writing of a series of transformational operations and ofdemystification of the collective imaginary) with a major focus on obsoleteparadigms (vaudeville, bourgeois drama, boulevard drama), the latter israther a matter of revisiting or transvaluating these hypotexts in the mannerof, say, Matéï Visniec’s theatre. Space, time, language and charactersundergo some distortion in order to highlight an outworn scenic chronotope,an old world, and to refer to theatre itself in a self-referential gesture. Whileshowing us to the lounge, certain rough sketches would make the spectatorconsider a dynamic interpretation performed in Diderot’s, Labiche’s or inFeydeau’s time, but this topos has nothing to do with the function mimingoffstage workings, since it merely provides a theatrical convention. Thespectator, receiver of a didascalic paratext with a metatextual scent,becomes an accomplice in this act of théâtromageiros.

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