ABSTRACT
LET’S REFORM THE STAGE. To admit, to believe that a stage has existed up until today is to a¹rm that artistically man is absolutely blind. The stage is not equivalent to a photographic enlargement of a rectangle of reality or to a relative synthesis, but to the adoption of a theoretical system and subjective scenographic material completely opposed to the so-called objective scenography of today. It is not only a question of reforming the conception of the structure of the mise-en-scène; one must create an abstract entity which identifies itself with the scenic action of the play. It is wrong to view the stage separately, as a pictorial fact: (a) because we are no longer dealing with scenography but with simple painting; (b) we are returning to the past (that is to say to the past ... present) where the stage expresses one subject, the play develops another. These two forces which have been diverging (playwright and scenographer) must converge to form a multiple synthesis of the play. The stage must live the theatrical action in its dynamic synthesis; it must express the essence of the character conceived by the author just as an actor at once expresses and lives it within himself. Therefore, in order to reform the stage one must:
1Deny exact reconstruction of that which the playwright has conceived, thus abandoning resolutely every factual relationship, every comparison between object and subject and vice versa; all these relationships weaken direct emotion with indirect sensations.
