http://www.peren-revues.fr/coupdetheatre/65 fr ven., 25 mars 2022 14:55:47 +0100 ven., 25 mars 2022 14:55:47 +0100 http://www.peren-revues.fr/coupdetheatre/65 0 http://www.peren-revues.fr/coupdetheatre/72 This volume means to articulate contemporary performance with the dynamics of gender, sexuality and racial productions. It confronts the politics of representation by combining plural approaches of minoritized groups to hear out a multitude of voices fracturing hegemonic oppressive constructions. The contributors explore a wide range of forms and themes that yield complex performances of what it can mean to crisscross identities and identifications in novel manners. From theater history (staging of US playwrights in France or Armenian documentary theater in New York City) to the deciphering of the effects of Black queer rap through lyrics, videos and social media by way of the traditional stage, like improv theater and queer theater. It becomes clear that a dynamic politics of representation can only emerge from a transdisciplinary approach, as in this volume with the conceptual hybridizing of philosophy, history, sociology, politics, media studies and, of course, theater and performance studies. Included in this issue, two interviews—one with a major US theater scholar, the other with an emerging theater maker—prolong how theater has and continues to produce confluences of experiences through personal, intimate and expert voices. The play published here for the first time enriches greatly the meaning of contemporary drama through a metatheatrical voyage through queer lives. Finally, the publication of the RADAC Master’s Prize provides an apt afterword by decentering the issue and by taking us into the deeply socially-conscious world of Edward Bond. mer., 18 déc. 2024 08:38:12 +0100 http://www.peren-revues.fr/coupdetheatre/72 http://www.peren-revues.fr/coupdetheatre/246 Dunsinane (2010), David Greig’s epic sequel to Shakespeare’s Macbeth, explores the aftermath of a tyrant’s death in 11th century Scotland, speculating on the reconstruction of a nation. Translated by Pascale Drouet, the play was premiered in France, January 2020, in Baptiste Guiton’s pungent production at the Théâtre National Populaire, Villeurbanne. In the wake of this powerful poetical performance, Christine Kiehl and Michèle Vignaux (Université lyon 2, France) collected a series of essays by international scholars on Dunsinane and the rewritings of Macbeth. This volume offers perspectives on David Greig’s Dunsinane, exploring such motifs as disaster, children’s voices, Lady Macbeth’s figure, and Machiavellian power. Twentieth and twenty-first centuries rewritings of Macbeth are under scrutiny in Heiner Müller’s Macbeth (d’après Shakespeare) (1971), Purcarete’s Ubu Rex avec des scenes de Macbeth, (2020) and cinema adaptations (House of Cards (2013-18) and Vice (2018). Coup de Théâtre is a unique combination of theory and experience from the page to the stage with studies of recent French and Greek productions of Macbeth, and the participation of actress Clara Simpson and stage director Sylvain Menges. lun., 13 janv. 2025 14:07:29 +0100 http://www.peren-revues.fr/coupdetheatre/246 http://www.peren-revues.fr/coupdetheatre/433 Immersive theatre is a booming trend in contemporary performing arts. The unifying feature of the plays, or “experiences” that fall into this “genre” is that they place the spectator at the core of the scenic device; they shred the boundary between the stage and the audience and merge the two into a single space. The works meld various practices and media and find inspiration in traditional theatre, as well as in literature, cinema and video games. Primarily, though, they take the spectators to universes specially devised for the occasion. This issue gathers articles by both theorists and practitioners to give insight into these immersive practices (in France as well as in the English-speaking world), their aesthetics and politics. Furthermore, the volume features Sébastien Bonnabel’s previously unpublished immersive play, Cyrano Ostinato Fantasies. lun., 20 janv. 2025 08:29:14 +0100 http://www.peren-revues.fr/coupdetheatre/433 http://www.peren-revues.fr/coupdetheatre/563 This volume means to turn the spotlight on a genre that used to be coterminous with drama originally but is now considered as just a branch of it, and not a popular one at that, namely verse drama. The contributors show the wide range of dramatic possibilities opened by the use of verse on stage, from Yeats and Gordon Craig to T.S. Eliot and Tony Harrison to Peter Oswald, Derek Walcott and Emmet Kirwan. The volume also features a statement by Patxo Tellería, a Castilian playwright and author of Pancréas (2015), as well as a translation of Glyn Maxwell’s Best Man Speech (2014), a monologue in verse first performed at the Edinburgh Festival. Finally, the volume includes a short version of Saraé Durest’s annotated translation of Caryl Churchill’s The Skriker (1994), awarded the first RADAC prize for outstanding Master’s dissertation. lun., 27 janv. 2025 10:14:54 +0100 http://www.peren-revues.fr/coupdetheatre/563 http://www.peren-revues.fr/coupdetheatre/708 Ce volume part d'un constat : le théâtre anglophone contemporain se tourne régulièrement vers les classiques de l'art dramatique - des Grecs jusqu'à Brecht, en passant par le théâtre français XVIIe siècle - pour se les approprier sous diverses formes comme la traduction, l'adaptation, la réécriture. Quels sont alors les apports des pièces dites classiques au théâtre contemporain ? Comment sont-elles retravaillées par des auteur.e.s dramatiques aussi différent.e.s que Tony Harrison ou Yaël Farber, pour confronter des préoccupations éthiques et esthétiques éloignées ? Enfin, qu'est-ce que ces diverses formes d'appropriation révèlent sur la traduction et l'adaptation, sur leurs intéractions et leurs différences ? Les contributions de ce volume analysent les manières dont le théâtre anglophone contemporain appréhende le présent par le prisme des pièces classiques. Le volume se clôt sur la publication, inédite, de la pièce bilingue de Kelly Rivière, An Irish Story - Une histoire irlandaise, qui présente un personnage parti à la recherche de son grand-père irlandais disparu, pièce suivie d'un choix de scènes surtitrées, permettant de rendre visible le travail, qui reste encore souvent dans l'ombre, des traducteurs. mer., 29 janv. 2025 11:01:14 +0100 http://www.peren-revues.fr/coupdetheatre/708 http://www.peren-revues.fr/coupdetheatre/773 The expression "crime play" immediately brings to mind the formulaic whodunit in which a number of potential criminals are gathered in a drawing room waiting for the cunning sleuth to solve the mystery and unmask the murderer. But is this traditional form of detective drama - with its plot revolving solely around the question "who has done it?" and the play ending with that question necessarily being answered - the only kind of crime play that can be identified in contemporaru Anglophone theatre? The answer is of course no, as the wide diversity of plays studied in this issue of Coup de Théâtre exemplidies. The articles collected in this volume attemps to address a gap in theatre and performance studies by showing how a number of playwrights and theatre companies have departed from the rigid and obsolete form of the draing-room thriller to offer new forms of crime plays that both celebrate and subvert the genre. The plays tackled in this volume show how playwrights and theatre compagnies have set out to renew the genre, blurring obsolete dichotomies and more particularly erasing the distinction between high and low culture. lun., 03 févr. 2025 12:34:26 +0100 http://www.peren-revues.fr/coupdetheatre/773 http://www.peren-revues.fr/coupdetheatre/806 RADAC celebrated its 40th birthday last year with an international conderence devoted to a very topical theme indeed: Crossing Borders. This volume presents the findings of scholars, translators, theatre-makers and publishers from a dozen European countries who gathered in Paris October 11-12, 2018 to discuss how Anglophone theatre circulates within Europe. They raise important questions linked not only to the reception, translation and adaptation of specific works, but also to the patronage and adaptation of specific works, but also to the patronage and funding of theatres and theatre professionals. mer., 05 févr. 2025 12:11:02 +0100 http://www.peren-revues.fr/coupdetheatre/806 http://www.peren-revues.fr/coupdetheatre/846 This issue of Coup de Théâtre explores the transformative and performative power seriality, reboots and iterability on the contemporary Anglophone stage and seeks to highlight contemporary performance’s constant poetic, formal and political reinventions. This volume’s contributions explore a vast body of plays from all corners of the English-speaking world that adapt past forms, past texts and/or past myths. As they uncover theatre’s capacity to adapt to or resist socio-cultural changes, all the articles in this volume explore how adaptation aims at bridging gaps between distant time periods, geographical spaces, cultural and linguistic differences, and participate ine the creation of a community of audiences, united in their enjoyment of the reiteration of a well-known word of art. Included in this issue, two interviews of artists, British director Joe Douglas and Indian playwright Koumarane Valavane, are a token of the variety of standpoints from wich aesthetics and political questions are asked - whether to adapt a text to the contemporary stage, why, how, where and for whoù. The volume also includes a short story and a play as yet unpublished by Koumarane Valvane, the RADAC’s Master’s Prize and a book review. mer., 20 août 2025 15:18:37 +0200 http://www.peren-revues.fr/coupdetheatre/846 http://www.peren-revues.fr/coupdetheatre/1160 In 2003 was founded the International Susan Glaspell Society. This new Coup de Théâtre issue not only hopes to celebrate its 20th anniversary by giving a voice to scholars and artists, who keep Glaspell’s heritage alive but also to help advance our understanding and knowledge of the “mother of American theatre.” We would like to express our sincere gratitude to the societies RADAC and International Glaspell Society for their supports. We are also thankful to the research group CAS (Centre for Anglophone Studies) from Toulouse-Jean Jaurès University. L’International Susan Glaspell Society a été fondée en 2003. Ce nouveau numéro de Coup de Théâtre cherche non seulement à célébrer le 20ème anniversaire de cette société savante en donnant la parole aux chercheurs et aux artistes qui font vivre l’héritage de Glaspell, mais aussi contribuer à faire progresser notre compréhension et notre connaissance de la « mère du théâtre américain ». Nous tenons à exprimer notre sincère gratitude aux sociétés RADAC et International Glaspell Society pour leur soutien. Nous remercions également le laboratoire CAS (Centre d’études anglophones) de l’Université Toulouse-Jean Jaurès. lun., 06 oct. 2025 17:36:16 +0200 http://www.peren-revues.fr/coupdetheatre/1160