ABSTRACT
A crucible for the making of meaning, a space for depicting the powers of the image, a moment that emphasises the liberation and elation of the actor, it has sometimes been conceived as the site of all possibilities. Indeed, if Jack Lang’s cultural policy in France set the groundwork for bolstering the theatre’s self-affirmation over the last third of the twentieth century, by fitting it into numerous structures and by placing predominantly artists at the head of these new or existing institutional structures. While the issue of “being-together” is particularly emphasised through different explorations of the role of spectators, it is also affirmed among production teams (the theatre practitioners themselves) and their renewed fascination with the notion of the collective, and all that it implies. Nordey’s theatre thus seeks to give voice, literally, to the poem’s literary quality, to valorise the lyrical over dramatic, but also to display language that is distinctive insofar as it is not only as non-naturalistic.
