How is new contemporary dramaturgy influencing theatrical forms, based on writing itself, indicating new paths, and actually widening the horizons of representation in the XXth and XXIth century? The personality of the author seems to have regained its lost centrality again, while innovating the forms of performance and acting. This is evident, for instance, in the theatre of Joël Pommerat, a key author of the current French scene, and also a director or, even better, as he likes to say, ‘writer of performances’. Through a series of plays, that the author ‘writes’ together with his actors, Joël Pommerat overcomes the theory of theatre as an ‘art à deux temps’ in favor of a single movement, exploring new techniques of acting and representation: from the rehearsals, intended as cinema shooting, to playback, from the poetic gesture to the nature of the characters, this ‘theatre of the author’ widens the limits of theatrical representation, while proposing an interesting synthesis between the tale and acting, diegesis and mimesis, the writing of the text and the writing of the performance.
Angela De Lorenzis insegna all’Institut d’Etudes Théâtrales della Sorbonne Nouvelle, è membro della Commission Nationale pour l’Aide à la Création dove persegue il suo lavoro in materia di ricerca e diffusione dei testi di autori teatrali europei e collabora con i principali teatri francesi (Comédie-Française, Théâtre National de Strasbourg e Théâtre National de la Colline). Ha scritto Ronconi e Racine, la regia della Fedra (IUO, 1996) e Jacques Lassale, Les répétitions, Essai d’identification d’un artiste (Anrt, 2001). email@example.com