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Le paradoxe de la parole originaire (Valère Novarina)

Abstract : Valère Novarina’s use of the descriptors “rock” and “wall”— as in cave paintings and carvings—to describe his work highlights a certain primitiveness, just as the expressions “theatre of the ears” (théâtre des oreilles) and “theatre of words” (théâtre des paroles) do—these latter dating from his 1979 Letter to the Actors. Such labels suggest at once a source and a destination forhis work. They point to the fantasy of a theatre practice anterior to mimetic theatre and dramatic representation, and derive their authority from the rehabilitation of sensory intake that is audible, subordinating opsis to babble. His work, starting from the sense of hearing in order to be heard, builds its foundation, paradoxically, on certain subtractions or removals that stand for a return to origins.
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Submitted on : Monday, December 3, 2018 - 4:54:06 PM
Last modification on : Tuesday, March 8, 2022 - 2:58:02 PM


  • HAL Id : hal-01943322, version 1



Marie-Hélène Boblet. Le paradoxe de la parole originaire (Valère Novarina). Revue d'Histoire du Théâtre numérique, Société d'Histoire du Théâtre, 2016, L’idée d’un théâtre originaire dans la théorie et la pratique dramatiques, pp.1-7. ⟨hal-01943322⟩



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