In the libretto of Luigi Nono’s Al gran sole carico d’amore (1975), an almost unique example of m... more In the libretto of Luigi Nono’s Al gran sole carico d’amore (1975), an almost unique example of militant opera, the Commune plays a preponderant role amongst many other mentioned failing revolutions. The article aims to analyze the reasons of this precedence. The Italian composer does not faithfully and chronologically represent the Parisian events, but presents them theatrically as the origin of later emancipatory struggles. However, the fragmentary structure makes a purely historical reading difficult. Above all, Nono’s work tries to reveal, thanks to the figure of Louise Michel, the emergence of an affective and subjective militant position that goes beyond the historic defeats. For this reason, Al gran sole carico d’amore is not a memorial : this “opera” makes us hear echoes of past resistant voices that never stop coming back to the present.
K. Revue trans-européenne de philosophie et arts,, 2019
Toussaint Louverture has been called the Black Spartacus, who leaded the only successful slave re... more Toussaint Louverture has been called the Black Spartacus, who leaded the only successful slave revolt in History. The question is: Can Spartacus be victorious? This paper aims to think about this contradiction, this impossibility by analyzing plays based on the life of the Haitian hero written by Lamartine, C.L.R. James and Glissant. How these works deal with the victory problem? I try to bring destituent possibilities out from these texts: marronage and fraternity as bias to preserve subversive virtues beyond the deceptive success.
Les pratiques théâtrales de Rainer Werner Fassbinder et de Jan Lauwers s'inscrivent dans des cont... more Les pratiques théâtrales de Rainer Werner Fassbinder et de Jan Lauwers s'inscrivent dans des contextes géographiques, historiques, esthétiques et surtout politiques différents. Pour autant, ils sont tous les deux ce que l'on pourrait appeler des auteurs de compagnie. De fait, ils écrivent leurs textes théâtraux pour une compagnie déjà constituée autour d'eux, ils écrivent pour des performers singuliers. En cela, le processus d'écriture est nécessairement informé par cette situation qui lui est inéluctablement liminaire, d'autant plus que ces collectifs sont animés par une exigence égalitariste, qui affecte la structure dramatique des textes... Écrire, c'est prendre en compte les caractéristiques physiques des performers, leurs corps, leurs voix, leurs individualités. Bien plus, l'antériorité de la compagnie constituée induit une reprise, entre différence et répétition, d'une constellation de personnages d'une pièce à l'autre, conduisant ainsi l'écriture à remettre en jeu inlassablement certaines positions subjectives et certains rapports interindividuels. L'article entend mettre au jour les caractéristiques de ces processus de création spécifiques, en pointant également les tensions qui peuvent y apparaître. Surtout, il envisage la distribution comme un phénomène pop, qui aboutit à la constitution de personae, qui rend compte de l'ambiguïté de la présence du performer, située entre authenticité subjective et archétype gestuel ou esthétique. Abstract Beyond the historical, national and aesthetic differences of context, Rainer Werner Fassbinder and Jan Lauwers are both playwright and stage director, who work within companies (antiteater and Needcompany). They write or stage for definite performers. Therefore the precedence of the cast influences the process of creation: the physical characteristics (body, voice, and age), the compartmental ones must be taken into account. Moreover, these artists have to deal with egalitarian requirement, which necessarily affects the structure of the play. This situation implies also the repetition, with minor differences, of a constellation of characters from one production to the other. This article intends to analyze the specific processes of creation due to the problematic relation of an author to an ensemble with non-hierarchic pretentions, the effects of repeated scenic works with the same performers. It tries to examine it as a pop phenomenon, through the apparition of personae, these figures between fictional character and authentic individuality.
K. Revue trans-européenne de philosophie et arts,, 2019
This essay tries to explore the ways opera invents personae of Marilyn Monroe. Actually, the star... more This essay tries to explore the ways opera invents personae of Marilyn Monroe. Actually, the star can be regarded as an equivalent of a prima donna of the 19 th century or a lyrical heroine. Despite its mythical tendencies opera could offer destituent processes able to deconstruct all the narratives explaining Monroe's death and to make it not a defeat but an irreducible event. Besides opera singing will be considered as the expressive form of the impossible identity. Contemporary productions, Ferrero's Marilyn and de Raaff's Waiting for Miss Monroe, as well as Warlikowski's staging of Janáček's Věc Makropulos will be here analyzed.
K. Revue trans-européenne de philosophie et arts, 2018
The Italian company Motus has developped a project named Syrma Antigones for two years. In this p... more The Italian company Motus has developped a project named Syrma Antigones for two years. In this project, Motus didn't intend to offer a new version of the Greek tragedy but aimed to search traces left behind by the rebellious protagonist in the contemporary world, to investigate through experimental performances about her possible survival. This paper analyses the chosen performative modes in this archeological experiment, from the fragmentary structure to the confrontation between theatre and political reality, and exploration of a queer dramaturgy based on fraternity, against State violence and the law of kinship.
In the libretto of Luigi Nono’s Al gran sole carico d’amore (1975), an almost unique example of m... more In the libretto of Luigi Nono’s Al gran sole carico d’amore (1975), an almost unique example of militant opera, the Commune plays a preponderant role amongst many other mentioned failing revolutions. The article aims to analyze the reasons of this precedence. The Italian composer does not faithfully and chronologically represent the Parisian events, but presents them theatrically as the origin of later emancipatory struggles. However, the fragmentary structure makes a purely historical reading difficult. Above all, Nono’s work tries to reveal, thanks to the figure of Louise Michel, the emergence of an affective and subjective militant position that goes beyond the historic defeats. For this reason, Al gran sole carico d’amore is not a memorial : this “opera” makes us hear echoes of past resistant voices that never stop coming back to the present.
K. Revue trans-européenne de philosophie et arts,, 2019
Toussaint Louverture has been called the Black Spartacus, who leaded the only successful slave re... more Toussaint Louverture has been called the Black Spartacus, who leaded the only successful slave revolt in History. The question is: Can Spartacus be victorious? This paper aims to think about this contradiction, this impossibility by analyzing plays based on the life of the Haitian hero written by Lamartine, C.L.R. James and Glissant. How these works deal with the victory problem? I try to bring destituent possibilities out from these texts: marronage and fraternity as bias to preserve subversive virtues beyond the deceptive success.
Les pratiques théâtrales de Rainer Werner Fassbinder et de Jan Lauwers s'inscrivent dans des cont... more Les pratiques théâtrales de Rainer Werner Fassbinder et de Jan Lauwers s'inscrivent dans des contextes géographiques, historiques, esthétiques et surtout politiques différents. Pour autant, ils sont tous les deux ce que l'on pourrait appeler des auteurs de compagnie. De fait, ils écrivent leurs textes théâtraux pour une compagnie déjà constituée autour d'eux, ils écrivent pour des performers singuliers. En cela, le processus d'écriture est nécessairement informé par cette situation qui lui est inéluctablement liminaire, d'autant plus que ces collectifs sont animés par une exigence égalitariste, qui affecte la structure dramatique des textes... Écrire, c'est prendre en compte les caractéristiques physiques des performers, leurs corps, leurs voix, leurs individualités. Bien plus, l'antériorité de la compagnie constituée induit une reprise, entre différence et répétition, d'une constellation de personnages d'une pièce à l'autre, conduisant ainsi l'écriture à remettre en jeu inlassablement certaines positions subjectives et certains rapports interindividuels. L'article entend mettre au jour les caractéristiques de ces processus de création spécifiques, en pointant également les tensions qui peuvent y apparaître. Surtout, il envisage la distribution comme un phénomène pop, qui aboutit à la constitution de personae, qui rend compte de l'ambiguïté de la présence du performer, située entre authenticité subjective et archétype gestuel ou esthétique. Abstract Beyond the historical, national and aesthetic differences of context, Rainer Werner Fassbinder and Jan Lauwers are both playwright and stage director, who work within companies (antiteater and Needcompany). They write or stage for definite performers. Therefore the precedence of the cast influences the process of creation: the physical characteristics (body, voice, and age), the compartmental ones must be taken into account. Moreover, these artists have to deal with egalitarian requirement, which necessarily affects the structure of the play. This situation implies also the repetition, with minor differences, of a constellation of characters from one production to the other. This article intends to analyze the specific processes of creation due to the problematic relation of an author to an ensemble with non-hierarchic pretentions, the effects of repeated scenic works with the same performers. It tries to examine it as a pop phenomenon, through the apparition of personae, these figures between fictional character and authentic individuality.
K. Revue trans-européenne de philosophie et arts,, 2019
This essay tries to explore the ways opera invents personae of Marilyn Monroe. Actually, the star... more This essay tries to explore the ways opera invents personae of Marilyn Monroe. Actually, the star can be regarded as an equivalent of a prima donna of the 19 th century or a lyrical heroine. Despite its mythical tendencies opera could offer destituent processes able to deconstruct all the narratives explaining Monroe's death and to make it not a defeat but an irreducible event. Besides opera singing will be considered as the expressive form of the impossible identity. Contemporary productions, Ferrero's Marilyn and de Raaff's Waiting for Miss Monroe, as well as Warlikowski's staging of Janáček's Věc Makropulos will be here analyzed.
K. Revue trans-européenne de philosophie et arts, 2018
The Italian company Motus has developped a project named Syrma Antigones for two years. In this p... more The Italian company Motus has developped a project named Syrma Antigones for two years. In this project, Motus didn't intend to offer a new version of the Greek tragedy but aimed to search traces left behind by the rebellious protagonist in the contemporary world, to investigate through experimental performances about her possible survival. This paper analyses the chosen performative modes in this archeological experiment, from the fragmentary structure to the confrontation between theatre and political reality, and exploration of a queer dramaturgy based on fraternity, against State violence and the law of kinship.
Uploads
Papers by Stéphane HERVE
Abstract Beyond the historical, national and aesthetic differences of context, Rainer Werner Fassbinder and Jan Lauwers are both playwright and stage director, who work within companies (antiteater and Needcompany). They write or stage for definite performers. Therefore the precedence of the cast influences the process of creation: the physical characteristics (body, voice, and age), the compartmental ones must be taken into account. Moreover, these artists have to deal with egalitarian requirement, which necessarily affects the structure of the play. This situation implies also the repetition, with minor differences, of a constellation of characters from one production to the other. This article intends to analyze the specific processes of creation due to the problematic relation of an author to an ensemble with non-hierarchic pretentions, the effects of repeated scenic works with the same performers. It tries to examine it as a pop phenomenon, through the apparition of personae, these figures between fictional character and authentic individuality.
Abstract Beyond the historical, national and aesthetic differences of context, Rainer Werner Fassbinder and Jan Lauwers are both playwright and stage director, who work within companies (antiteater and Needcompany). They write or stage for definite performers. Therefore the precedence of the cast influences the process of creation: the physical characteristics (body, voice, and age), the compartmental ones must be taken into account. Moreover, these artists have to deal with egalitarian requirement, which necessarily affects the structure of the play. This situation implies also the repetition, with minor differences, of a constellation of characters from one production to the other. This article intends to analyze the specific processes of creation due to the problematic relation of an author to an ensemble with non-hierarchic pretentions, the effects of repeated scenic works with the same performers. It tries to examine it as a pop phenomenon, through the apparition of personae, these figures between fictional character and authentic individuality.