Une étrangeté inversée: un regard sur le théâtre contemporain

Abstract

Although contemporary drama now stands accused of distortion by several types of spectators (whether connoisseurs or occasional amateurs), the study of its twentieth- century historical evolution has revealed that reciprocal influences among arts favoured its evolution, transforming not so much its supposed dependence upon the dramatic text 

– which has largely been shown – as its very modes of performance. Spectators’unfulfilled expectations are thus to be understood as part of some dramatic art in which they have to accept their decentring, their estrangement, their defamiliarization or ostranenie, when