ABSTRACT
The assumption of staging as the centre of the theatrical event – as confirmed in the second half of the twentieth century – represents the empowerment and consciousness of the stage organisation in the relation to the primacy of a text that remains the principle of the representation, but whose concrete realisation is no longer supposed to be entirely and naturally contained within itself. The centralisation of the powers and recognition in the hands of the author-director might lead one to believe this. But, looking at it more closely, this is far from being the case. The advent of the central figure of the director as keystone of the theatrical creation does not involve an instrumentalisation of the actor, since the commitment and presence of the latter is at the heart of the affirmation of the powers of the stage.
