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The sensory Performance grounded on the Primacy of just one Sense and its synesthetic Interpretation
Get PDFThis study will focus on analyzing the content of the texts of some monosensory performances. Through this research we will discuss how the performance is perceived by the audience. The dominant direction chosen by the artist for his/her performance, does it always correspond to that used by the spectator ? Is there an association of senses that can be established by a monosensory performance ? How cultural and sociological connotations of senses used for this or that performance contribute to a critical interpretation of performance
« Pereira prétend » de Didier Bezace, une mise en scène synesthésique ou les parfums de la conscience
Get PDFSmell indeed is rarely stimulated on modern stages, but when it is, the staging is remembered all the more vividly since the memory of smell lasts longer than other memories. In adaptation of Pereira prétend, Didier Bezace produces odours which also stimulate tastes, such as lemon, sardines and cigars. This article studies the way the different senses are used in Bezace’s staging in order to understand their role, meaning and impact. The article focuses on Didier Bezace’s choice to utilize smell which has a strong symbolical impact enabling the audience to achieve a full process of identification therefore leading them to question their own relationship to History
Le Turak, théâtre visuel et musical ou de l’objet à la poésie musicale
Get PDFThe Turak Théâtre d’objets is a company which was created by Michel Laubu thirty years ago. Their objective is to turn each spectator into a child again. In order to reach that goal, why not use poetry and imagination? Their work consists in transforming the objects you use everyday: they may be turned into characters, pieces of furniture or musical instruments: for instance you might find drums made of barrels, or the invention of an instrument, the « arsenoïtal », or the creation of a clarinet, etc... We can highlight the link between the objects and the music in the shows by the Turak company so as to show how the relation between seeing, touching and hearing leads to musical poetry
Si ce n\u27est pas de la gloire; c\u27est du bouillon
Get PDFHunger and appetite are not the same; this is perfectly demonstrated by the aesthetics and the cuisine of the Eighteenth Century. It is only hunger that subjugates the individual to disgust. Appetite refines, hunger debases. Hardly, in the Eighteenth Century, is the aesthetic fruition of disgust admitted, for it is considered as a pathological deviance. On the contrary, in the non-perverted taste, the Eighteenth Century finds a sentiment that is energy, sensory engagement, physiological tension, and imagination at the service of pleasure. 
Présence en public : expérimenter la performance comme « théâtre »
Get PDFOur proposal questions the participation of the public in the performance. An aspect which we are going to develop is the object of the performance as effective strategy which assures the success in one paradigm participative. The stage in three D of the performance is a space of meeting between the actor/performer and the spectator/performer. The stage in three D transforms the performative work into collective happening. We are going to study in particular examples from our performative/participative practice (as The Two Gullivers), but also from Marina Abramovic\u27s practice
Tra metafora e identità : il gusto del vino nel cinema italiano
Get PDFThis paper aims to investigate the ways in which the wine was represented in the Italian cinema, through some exemplary movies chosen from particularly representative genres: such as neorealism, the Italian comedy and authorâs cinema. Our analysis will show that the wine tasting, in the Italian cinema, has managed very well symbolize, from time to time: conviviality, individual memory, differences of class, sex, death, and finally, the sacred and the religious. 
Les coulisses et le sixième sens, ou l’invisible au théâtre
Get PDFThis article proposes to examine extra-sensorial tendencies in the theatre, the (third) eye that looks towards hidden, (para)theatrical spaces and phenomena. It begins by asserting the primordial role of the wings in the contemporary popular imagination, while underlining their absence from the theoretical corpus, even that questioning the spatial and experiential limits of performance. Then, through a number of examples taken from the historical development of the French theater, the study demonstrates how attention is consistently drawn towards invisible aspects situated offstage, thereby inciting the audience to further hone a sixth sense so as to fully grasp the performance.
 
L’univers multi-sensoriel de l\u27Odin Teatret dans « Le squelette de la Baleine » : éloge et stimulation de la synesthésie du spectateur
Get PDFInside the skeleton of the whale is a performance of the Odin Teatret created in 1996. His subject is inspired by Before the law, parable contained in the novel The Trial of Franz Kafka. The mise-en-scène and the performers’ acting techniques aim at activating the sympathetic resonance with the spectator through a multi-sensorial stimulation. The audience seats around the stage area in front of an elegantly prepared table with bread, olives and red wine. The spectator is invited to participate to a funerary banquet in which hearing, taste, view and smell are involved. By analyzing fragments of this performance, throughout actors’ testimonies as well as reviewers’ and audience’s reception, this paper overviews the psychophysical and sensory involvement of the spectator and shows the different levels of meaning of this performance
« Perhaps That Taste of Nothing Is What You Can Taste » : Sensory Landscapes, Absence, and Objects in Martin Crimp’s « The Country »
Get PDFWhen Martin Crimp’s The Country was first performed at London’s Royal Court Theatre in 2000, critics focused on its Pinterian echoes, the popular motif of betrayal, as well as its attack on the rural myth, and described it as a disturbing and ambiguous play. Despite its unsettling elusiveness and coolness, The Country is a hot piece, in which sensual and sexual tensions permeate chilling verbal exchanges between cryptic – and seemingly unemotional – characters. Staging an intricate web of sensory reactions, provoked by the (im)materiality of language and the evocative potential of props, this drama effectively «works through affective nuances […], acoustic and visual, which develop an almost haunting presence in their absence» (Angelaki 2012: 97). Examining Crimp’s sensory landscapes and his subtle dialogue between presence and absence, this article aims to demonstrate how, in an opaque play built on ellipses, the body sous rature speaks as loud as the ostended body.