Université Paris 8
2 Rue de la Liberté, 93526 Saint-Denis

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The actor facing the screen


12-13 June 2014

University Paris 3-Sorbonne Nouvelle
17, rue de la Sorbonne
75005 Paris

In collaboration with:
University Paris 3-Sorbonne Nouvelle

About twenty years ago, new technologies contributed to deeply transform theater and acting. Now, bodies of flesh stand alongside hybrid and synthetic bodies, creating mixed corporeality "half flesh, half calculation" (Couchot) which balance differs according to the artists’ esthetic choices (directors, actors, author). What does the actor become in this confrontation with a transformed stage? What acting techniques are then imposed to performers? How do new esthetics combine corporeal and virtual? How is the performer’s presence deployed? How does he or she deal with energy? The relation to voice? To space? To time? To movement?

Our conferences will be dedicated to those questions and particularly to forms of interations between actors and stage technologies (in any shape: screens, cameras, sound and image amplification, sensors), in order to show how those interferences disrupt the acting theories that prevailed until now.

Facing new scenic devices, actors are compelled to develop new work strategies that needs to lead to a flexible acting, between real presence and virtual presence. The stage director himself/herself is at the heart of a changing stage, developing true video-maker and even film-maker talents. (FC Bergman, Bud Blumenthal, Guy Cassiers, Romeo Castellucci, Kenneth Collins, Pippo Delbono, Ivo van Hove, Elizabeth Lecompte, Michel Lemieux and Victor Pilon, Robert Lepage, Caden Manson, Simon McBurney, Denis Marleau, Katie Mitchell, Fabrice Murgia, Jean-François Peyret, Jay Scheib, Cyril Teste, Kris Verdonck, Marianne Weems, among many other). The screen translates a dialogue between the bodie (corporeal and virtual ones) with a transformed scenic presence and different ways to recite.

How do acting schools react to those changes affecting contemporary theater? Do they stay faithful to a certain traditional conception of acting and performing texts? How do they approach the mutation of acting forms ? If a whole artistic influence changes the actor’s presence on stage - and his or her involvment during creation work - don’t we need to rethink how we train actors?

Labex Arts-H2H

The Laboratory of Excellence in Arts and Human Mediations is part of the “Investments for the future” program since 2011. As part of this program, its members conduct research following three main lines: situations, technologies, hybridization.

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