ABSTRACT
We should probably start by deconstructing the title of this chapter and the ambiguity it contains! The point is to examine how postmodern mise en scène might be deconstructed, but also to consider how mise en scène itself enacts deconstruction. Let us play immediately with the prefix ‘de-’, in the passive as well as the active sense. Since the three terms of the title are in no way univocal, the programme will inevitably include errancy, or ‘destinerrancy’. Nevertheless, the sole aim of this chapter is to take up the Derridean notion of deconstruction as a tool to analyse the functioning of a few theatre productions by directors such as Vitez, Mesguich and Chéreau.
