https://www.peren-revues.fr/revue-k/801 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/797 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. lun., 15 janv. 2024 08:47:09 +0100 lun., 15 janv. 2024 08:47:27 +0100 https://www.peren-revues.fr/revue-k/797