ABSTRACT
We often hear of the death of the director, after the so-called death of the author in the 1960s. Now is she dead or merely transformed, and in a state of crisis? Is the crisis faced by the director a sign of imminent demise? Nothing could be less certain. For a long time now the ‘director of the stage’ (to borrow the Spanish term) has ceased to be the uncontested master of her domain. She has become a limited company, a discontinuous postmodern subject whose powers are lost and dispersed (while she still receives the dividends).
