https://www.peren-revues.fr/revue-k/664 Entrées d’index fr 0 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/660 The article focuses on Joan of Arc as a figure who can embody Jacques Derrida’s reflections on the gaze and tears. In his texts, Derrida proposes the distinction between eyes that see and eyes that are seen. According to Derrida, blinding is what reveals the truth of the gaze, and it is not the eyes that see, but only the tears that blur vision. The thesis of this paper is that Joan of Arc is an emblematic figure of the emotion that has always been removed from the regime of the authority of seeing. Her tear-filled gaze, as depicted by director Dreyer, can subvert the opposition between the visible and invisible. mer., 10 janv. 2024 10:51:14 +0100 jeu., 15 févr. 2024 17:38:29 +0100 https://www.peren-revues.fr/revue-k/660