Résumé
Le terme "répétitions" qui en français désigne la phase de préparation collective du spectacle induit un principe de réitération dans le travail théâtral qui structure et conditionne historiquement le travail de l’acteur. En décrivant les déterminations que la répétition impose au jeu dans les formes conventionnelles de création et en en faisant la critique, cet article tâche de faire merger des propositions méthodologiques et conceptuelles pour une approche plus organique et performative du jeu, qui le rapprochent de la dynamique sportive.
The term “répétitions” (rehearsals), which in French designates the collective preparation phase of the show, also induces a principle of reiteration in theatrical work which structures and historically coerces the actor's work. By describing and discussing the determinations that rehearsals impose on acting in conventional forms of creation, this paper attempts to bring out methodological and conceptual proposals for a more organic and performative approach to actor’s acting, which bring it closer to certain sports dynamics.
The term “répétitions” (rehearsals), which in French designates the collective preparation phase of the show, also induces a principle of reiteration in theatrical work which structures and historically coerces the actor's work. By describing and discussing the determinations that rehearsals impose on acting in conventional forms of creation, this paper attempts to bring out methodological and conceptual proposals for a more organic and performative approach to actor’s acting, which bring it closer to certain sports dynamics.