Uma certa perspectiva da palavra na cena contemporânea

Abstract

Taking Antonin Artaud's reflections on language as a starting point, I will attempt to make evident the rupture he proposes concerning traditional narrative structure. Inverting the old concept of art as a copy of the world, we will begin with the assumption of a language whose expressive power is so strong that it goes beyond mere description of facts or ideas. Considering the work as an autonomous creation that refers to nothing beyond itself, I will seek an understanding of speech as a power of establishment, as an artistic gesture, as action. In contemporary theater, language demands that we understand it not as a means of communication but as a power of establishment. By rejecting the debate on narrative forms, this essay asserts that, beyond the interplay between form and content, theater turns exclusively toward the realization of an experience between the stage and the audience. This question will be explored based on my staging of texts by Koltès, Beckett, and, in particular, the narrative structure of the works of Valère Novarina, in order to understand to what extent, in contemporary dramaturgy, the subject is emptied to promote the emergence of language itself as a material for constructing both man and the world.