Search

What’s in a memory? And what about many accumulated memories? In the theater, they are sometimes used as shibboleths: to be able to say “I was there” is to express that one belongs to a certain generation of spectators. This dialogue between fellow witnesses is often complemented by particular stories that may escape critical notice and involve unexpected thresholds of consciousness or perception. The present text offers a few examples of this. [ABSTRACT FROM AUTHOR]

How are living performances grasped by those who witness them and pass them on “before they settle between the pages […] of the encyclopedias of theater”? By what means, with what instruments, according to what attitudes and strategies? This introduction sets out the itinerary of the “polyphonic investigation” collected in this volume, while proposing a preliminary typology of its “empirical anthology” as well as some conceptual reference points (drawn from Husserl, Merleau-Ponty or Bergson). [ABSTRACT FROM AUTHOR]