ABSTRACT
When working with actors, the French writer and director Valere Novarina often resorts to the parallel of painting since he believes that everything that happened in the painting of the nineteenth, twentieth, and twenty-first centuries—the decomposition of the image of man and the human form in the works of Picasso, Bacon, Jean-Michel Basquiat, and Chaim Soutine, or even Jean Dubuffet—has not yet manifested adequately in theater. ORLAN presents the carnal and hidden side of the human face, changing and liminal; artistic transfiguration communicating the evil side of man. By constructing, deconstructing, and questioning its anthropoglyphs, the theater of Valere Novarina aspires to the resultative aspect of rites, it brings remedy to the defeated and disfigured man, by a process of kenotic submission and then resurrecting, which is at the base of its dramaturgy.
