ABSTRACT
Valere Novarina’s relationship to language extends back to his childhood, to his unusual experience of bilingualism and multilingualism, which we can understand not only considering his Swiss birth, but with his childhood memories relating to the Hungarian language as recorded in his autobiographical text An Incomprehensible Mother Tongue. In addition to a well-translated text, Novarina holds a good distribution of the roles to be the soul of the performance. The concept of the “Novarina actor” has already become widespread in French theater. Novarina’s productions have numerous recurrent elements: baptism with water after a flood of words, death, the exit and entrance of the dead, dining, consuming words. Novarina places the Female Historian at the center of the pool of names; she directs the story’s beginning, and through the two and a half hours of the performance, she calls the flood of characters to the stage.
