https://www.peren-revues.fr/revue-k/126 Publications de Auteurs Stéphane Hervé fr 0 https://www.peren-revues.fr/revue-k/1794 The death of Clorinda and her baptism mark the restoration of order and boundaries in La Gerusalemme liberata. In Il Combattimento, based on Monteverdi’s madrigal Il Combattimento di Tancredi e Clorinda and Tasso’s epic poem, Castellucci – rather than treating it as the climax of a narrative plot – transforms it into a threshold opening onto a reality in which the character persists as an incorporeal voice. This article aims to explore the powers of this incorporeal voice – capable of undermining the very foundations of the world – through an analysis of Castellucci’s production. jeu., 09 juil. 2026 19:40:34 +0200 ven., 10 juil. 2026 00:13:04 +0200 https://www.peren-revues.fr/revue-k/1794 https://www.peren-revues.fr/revue-k/1360 mer., 26 juin 2024 08:53:24 +0200 mar., 29 oct. 2024 09:50:24 +0100 https://www.peren-revues.fr/revue-k/1360 https://www.peren-revues.fr/revue-k/1325 This article proposes to consider the appearances of Charlot on the circus ring as so many reflexive moments on the powers of gesticulation. Gesticulation is often considered a degraded version of gesture, to which modernity would be condemned. Or, it is a ridiculous version of it that clowns use to mock human pretensions. None of this in The Circus. The gesticulation does not testify to a failure, and moreover the movie is not interested in causes or intentions. It highlights what happens through gesticulation, the defeat of the order of the world, and what it allows: surviving the catastrophe. lun., 13 mai 2024 15:16:59 +0200 lun., 13 mai 2024 15:33:30 +0200 https://www.peren-revues.fr/revue-k/1325 https://www.peren-revues.fr/revue-k/1300 mar., 13 févr. 2024 14:19:37 +0100 mar., 13 févr. 2024 14:19:57 +0100 https://www.peren-revues.fr/revue-k/1300 https://www.peren-revues.fr/revue-k/1262 The real according to Lucretius refuses the theater, it defies the powers of the theater and its apparatus: how can one give a theatrical account of the invisible vortex of atoms? How can one be a spectator of this vortex without being a god? How can one experience the shocks of the atoms, the unfounding Nature collectively? This article proposes to consider, through the analysis of Maguy Marin's performance Turba, the ways in which the theater can help us perceive the unfounding Nature and what political experiences can emerge from this sensory and philosophical experience. ven., 09 févr. 2024 09:32:28 +0100 jeu., 22 févr. 2024 14:20:06 +0100 https://www.peren-revues.fr/revue-k/1262 https://www.peren-revues.fr/revue-k/1211 mar., 06 févr. 2024 10:56:45 +0100 jeu., 22 févr. 2024 14:06:26 +0100 https://www.peren-revues.fr/revue-k/1211 https://www.peren-revues.fr/revue-k/1207 mar., 06 févr. 2024 10:02:53 +0100 mar., 06 févr. 2024 10:07:35 +0100 https://www.peren-revues.fr/revue-k/1207 https://www.peren-revues.fr/revue-k/1122 mer., 24 janv. 2024 10:47:22 +0100 mer., 14 févr. 2024 15:50:29 +0100 https://www.peren-revues.fr/revue-k/1122 https://www.peren-revues.fr/revue-k/1005 mer., 17 janv. 2024 10:32:05 +0100 jeu., 15 févr. 2024 10:41:11 +0100 https://www.peren-revues.fr/revue-k/1005 https://www.peren-revues.fr/revue-k/1002 mer., 17 janv. 2024 09:08:47 +0100 lun., 21 juil. 2025 23:35:51 +0200 https://www.peren-revues.fr/revue-k/1002