ABSTRACT
This conclusion presents some closing thoughts on the key concepts discussed in the preceding chapters of this book. The book begins with the aim of discovering the extent to which the theatrical work of Sarraute, Duras, Cixous and Renaude privileges voice and cultivates an intensity of auditory experience in the theatre. The plays of Sarraute, Duras, Cixous and Renaude provide access to a theatrical space where the auditory imagination of the actor or the spectator becomes a stage for the voices of the self on the threshold of language. Instead of a dialectic between the body, framed as sign, and the voiced text, the focus of the theatres of all four writers is almost entirely in the realm of voice and the auditory. The theatres of the tour writers considered could be described — and undoubtedly have been described — as theatres of language, theatres that prioritise the written text.
