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The Revival of Plays: A Procedure Open to Question1

Published online by Cambridge University Press:  01 October 2008

CHRISTINE HAMON-SIRÉJOLS
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Abstract

In French, the term reprise (revival) is polysemous to a high degree. Starting with a short redefinition of the term, our present concern is to make clear its historical evolution and to analyse the contexts in which theatre directors are using it today. Whether the motives for a revival be economic, emotional or aesthetical, the phenomenon becomes more and more important in the perspective of a globalization of the major theatrical productions. From Giorgio Strehler's seven revivals of Goldoni's Servant of Two Masters to the several versions in different languages of one performance by Robert Wilson or Robert Lepage, what is at stake in a revival has changed considerably: this is what this article will attempt to clarify.

Type
Articles
Information
Theatre Research International , Volume 33 , Special Issue 3: Genetics of Performance , October 2008 , pp. 307 - 317
Copyright
Copyright © International Federation for Theatre Research 2008

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References

NOTES

2 ‘Strehler’, Les Voies de la création Théâtrale, 16 (Paris: CNRS, 1989), p. 151.

3 This is what Roger Planchon finally agreed to do when he committed his play La Remise to Alain Françon.

4 La Trilogie de la Villégiature includes three plays by Goldoni: Pining from vacation, Holiday adventures and Back from vacation. Often performed separately, they have been presented as a single play in France by Strehler in the manner of a huge fresco illustrating the decline of a world suffocating under the pressure of conventions.