La comparution théâtrale. Pour une définition esthétique et politique de la séance

Objet formellement et socialement hétéronome, le théâtre est marqué par le champ de forces que déterminent ses instances ; dans le présent éphémère de l’expérience théâtrale se joue une relation fondamentalement caractérisée par la contradiction, la tension, l’hétérogénéité, la multiplicité des points de vue, où s’effectuent une mise en place et une mise en jeu du commun, et un jeu de l’individuel par rapport à ce commun. Ce jeu et ce commun, le théâtre contemporain ne cesse d’ailleurs de les revendiquer, au risque parfois de l’autoréférentialité tautologique, ainsi que d’une conception de la communauté théâtrale qui ne renverrait qu’à un seul « partage » du même (la théâtralité). Le phénomène qui s’élabore dans la séance théâtrale nous semble plutôt relever d’une opération esthético-politique de l’ordre de la comparution : une comparution immédiate (parce que faite dans l’instant) et médiate (parce qu’il y a art) ; un champ de comparutions multiples, qui figurent et induisent des jugements multiples, mettant à nu dans le lieu théâtral la nécessité du lien social en même temps que la nécessité, en en prenant conscience, de le perturber ou de le questionner.A formally and socially heteronomous object, the theatre is marked by the force field determined by those responsible for it; the ephemeral present of the theatre experience involves a relationship characterized, basically, by contradiction, tension, heterogeneity and multiplicity of viewpoints, and in which the blocking and staging of shared experience develops along with the role of the individual in relation to this experience. Contemporary theatre, moreover, continues to claim responsibility for this staging and shared experience, sometimes at the risk of tautological self-referentiality as well as of a concept of theatre community that refers only to a single “sharing” of the same (theatrality). The phenomenon that develops in the theatre session appears, in our opinion, to be part of an aesthetico-political operation on the order of appearance; an appearance that is immediate (because achieved in the moment) and mediate (because there is art); a field of multiple appearances that arrive and induce multiple judgments, laying bare in the theatre venue the need for the social link along with the need, as awareness of it develops, to disrupt or question it

Bernard-Marie Koltès: uma dramaturgia da relatividade

Sob a aparência de uma dramaticidade de algum modo canônica, a dramaturgia de Koltès subverte o dramático em seu interior e a própria ideia de um quadro de representação estável e centralizado. Isso é particularmente visível no uso do diálogo permanentemente minado pelo monólogo, e este último, por sua vez, se encontra distorcido pela situação de relação dialógica na qual se inscreve. Em resumo, a base identitária, a possível apreensão do personagem é colocada, assim, num complexo jogo, a um só tempo, de exposição e de retraimento. Abandonando a perspectiva psicológica e a lógica das motivações, Koltès constrói a sua dramaturgia segundo modelos mais próximos das leis da física (dinâmica, atração, peso, inércia...). A alteridade não é partilhável dentro de uma mesma esfera (“intersubjetiva”) e, sim, manifesta-se na oposição e na interação de planos diferentes, nos quais os protagonistas parecem com frequência, de modo paradoxal, não se enfrentar diretamente. O que não os impede de revelar, por deslize ou reação, uma violência que se diria contida. Dramaturgia dos espaços-tempos moventes e dos pontos de vista relativos, poderia ser chamada de dramaturgia relativa, ou dramaturgia da relatividade: a instabilidade de uma perspectiva relativa substitui o pressuposto de uma visão central e unificada. O conflito dialogado apresenta-se, então, como um lugar sintomático de descentramento permanente, que afeta os elementos constitutivos de uma dramaturgia koltèsiana de bases abaladas

Pengaruh Brand Trust dan Brand Equity terhadap Loyalitas Konsumen pada Produk Kosmetik Wardah (Survey Konsumen pada PT. Paragon Technology And Innovation Cabang Pekanbaru)

The purpose of this study was to determine the influence of brand trust ( X1 ) and brand equity ( X2 ) customer loyalty ( Y ) in cosmetic products Wardah ( consumer survey on PT . Paragon technology and innovation branches pekanbaru ) . The method in this research is quantitatively using SPSS 21 program , where samples were used that consumers using cosmetic products Wardah by respondents as many as 100 people sampling technique is accidental sampling using the formula slovin . The results showed that the test results simultaneously obtained from the F count was 34.888 while the value of F table 3.090 . This means that F count> F table and significant value 0,000 < alpha of 0.05 . This means that brand trust and brand equity simultaneously significant effect on consumer loyalty to cosmetic products Wardah

La conscience du temps. Éléments de mise en perspective de la scène contemporaine

The mythological-like and essentialist logic of some recent nostalgico-polemic speeches on theatre excludes any problematical and critical approach to contemporary staging. Against that, and even against a kind of current doxa, we have to adopt a historical perspective, and to re-assert the importance of the activity of staging as an art and as consciousness.Certains discours récents, nostalgico-polémiques, sur le théâtre convoquent une logique mythifiante et essentialiste empêchant toute approche problématique et critique de la mise en scène contemporaine. Face à cela, et même face à une certaine doxa actuelle, il importe de la remettre dans une perspective historique, et de réaffirmer les enjeux de l’activité de mise en scène comme art et comme conscience.Triau Christophe. La conscience du temps. Éléments de mise en perspective de la scène contemporaine. In: Communications, 83, 2008. Théâtres d’aujourd’hui, sous la direction de Sylvie Roques. pp. 157-167

Etats de la scène actuelle : 2018-2019

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