ABSTRACT
To stage a work of theatre thus involves a systematic relationship to all variables, and it is the awareness of the relation, of interplay of factors, that allows both the realisation of mise en scene and audience’s interpretation of it. The practitioners, stakeholders (and these include spectators) must endeavour to coordinate this set of signs, take them into account (whether they are intentional or not), know that every movement, every object, every sound has meaning. In the 1950s and 1960s, Jean Vilar also harnessed the empty stage to produce neutral and harmonious link between practitioners, text and spectators in a sort of unifying space where only a few platforms served as a basis for movement of bodies and for the imagination of the spectators. Consequently, the image serves as much to produce the spectacle as the play of actor who must blend into this image: the stage is formed by series of signs, which are not necessarily subsumed by body.
