https://www.peren-revues.fr/revue-k/322 Entrées d’index fr 0 https://www.peren-revues.fr/revue-k/948 Joël Pommerat’s play Pinocchio (Paris, 2008) is inspired by Collodi’s and Commencini‘s works. Then, Pommerat adapted it into opera with Philippe Boesmans (Aix-en-Provence, 2017). In this theatrical combination, could Pinocchio’s adventures reflect the artistic progress, from initiation to masterpieces, through lies and disobedience, in search of truth? lun., 15 janv. 2024 12:14:15 +0100 mar., 13 févr. 2024 11:21:52 +0100 https://www.peren-revues.fr/revue-k/948 https://www.peren-revues.fr/revue-k/320 Marilyn Monroe, an actress on its own, did well on theatre as well. She was indeed the heroin of numerous plays, and was “embodied” by various actresses. What is the point of putting a film star on the boards? Is it to offer her some kind of artistic redemption? What about her charismatic and so well-known body, thus transferred into another one, living, and offered anew to renewed male and female gazes? jeu., 30 nov. 2023 08:44:35 +0100 ven., 09 févr. 2024 15:49:48 +0100 https://www.peren-revues.fr/revue-k/320 https://www.peren-revues.fr/revue-k/938 Pinocchio is one of those masks that Carmelo Bene frequents and reinterprets throughout his artistic production. In this essay there are the reasons for such an assiduous frequentation as to make Pinocchio a point where the vectors belonging to the aesthetic practice of Carmelo Bene converge. lun., 15 janv. 2024 12:04:47 +0100 lun., 15 janv. 2024 12:05:00 +0100 https://www.peren-revues.fr/revue-k/938