ABSTRACT
Nowadays, the Italian-style theatre building and its stage tend not to provide the sole model for the theatrical precinct. The stage may slide, turn, be elevated or dispersed, through an indeterminacy between the actors’ spaces and that of the spectators. In other words, whether the spectators are aware or not of the referential mode implied by the staging arrangement in which they find themselves, whether or not the practitioners are responsible for the organisation of the space, of the stage and of the audience, one must always consider that the arrangement is significant, and therefore has effects in terms of reception and interpretation. In other words, scenography inscribed itself in a language of rupture, in a refusal of tradition and convention in favour of creating the element of surprise; displacing stage, actors, audience, objects and technical apparatuses (including lighting) to create a world different from one that any practitioner or spectator is supposed to occupy when they enter a theatre.
