By combining classical sociological tools with the analysis of works, authors, and protest groups, this book explores the sometimes collusive and often conflicted links between theatre and power. Read More
Whether it thrills the imagination by poking fun at the powers that be, or whether it challenges spectators to question their passivity in society, protest theatre aims to mobilise viewers and to disrupt the established order.
What role do playwrights have in an authoritarian regime? What meaning can we give to protest theatre in a democratic context? From France to the United States, via Brazil and Argentina, Mathilde Arrigoni investigates the militant, artistic and professional logics at work in dramatic art that has become a political weapon. Through the study of demonstrations in defence of entertainment workers she also questions the way in which social struggle has been enriched by artistic practice. By combining classical sociological tools with the analysis of works, authors, and protest groups, she explores the sometimes collusive and often conflicted links between theatre and power.
Introduction
Chapitre 1 — Le théâtre, un rapport ambivalent au politique
Un art encadré par les institutions
Un art de la participation populaire
Un art tenu en lisière 32
Chapitre 2 — Théâtre contestataire, théâtre militant
Une cause politique en filigrane
Un mode de production spécifique
Révolutions esthétiques, révolutions politiques
Chapitre 3 — Une politisation progressive de l'espace
Sortir de la scène
Sortir de la salle
Sortir de la ville
Chapitre 4 — Un vecteur de conversion émotionnelle
Le retour des émotions
Le rire, menace politique
Produire un choc moral
Chapitre 5 — Les artistes engagés
Les difficultés d'une mobilisation durable
Les intermittents du spectacle
Conclusion
Bibliographie sélective