La scène infinie de Giordano Bruno

In this paper, we propose to consider how Giordano Bruno's thought of infinity challenges the Renaissance or baroque concept of the theatrum mundi. The universe can not be a theatre. Yet, the theatre dispositive keeps coming back in the philosopher's work, but as a redefined theater, constantly problematizing its limits and the spectatorship. And then, in Il Candelaio, Bruno seems to us to define what would be a theatre of vicissitudes, in a kind of landscape theatre, which resonates with certain contemporary experiments.