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According to old physics theories, our universe might be the result of a black hole which generated the big-bang: the genesis of space, time and substance. The figurations of the theatre play Mais, Maman, ils nous racontent au deuxième acte ce qui s’est passé au premier / Look, mom, in the second part they tell us what happened in the first (2003) by Matéi Visniec (which presents a hole) and Ciels/ Skies (2009) by Wajdi Mouawad (very sympathetic of this hole) are against this law of universal gravity. That’s good. But, metonymically speaking, they are not without connection with the postmodern chaos that exists in the contemporary francophone theatre: birth of a hole which swallows everything and melts in a total ambiguity. They propose a manner of thinking this creation as being somewhere up at the top of an art whose rules can be reversed by the playwrights. These two plays bring a new light on the evolution of francophone theatre, which started with Aristotle rules, going forward to the new theatre and “theatre of the absurd” written by Eugen Ionescu, as well as the situational theatre of Jean-Paul Sartre, and, of course, Beckett. All this originates in the famous “bonnet rouge” of Hugo’s preface of the play Cromwell. Both the French-Romanian writer and the Lebanese-Canadian one appeal to the stage director, to character/ actors, to readers/spectators under the influence of a space situated at the intersection of arts and disciplines such as: mathematics, computer science, cryptanalysis and many others. [ABSTRACT FROM AUTHOR]

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The article explores the question of a spectator of art, particularly theater in France at the end of the 18th century when people themselves became the subject of art, according to the article. The author philosophizes on the notion of the authentic presentation of oneself. How society may impact an individual's desire for an authentic life and the tension between socio-political demands and ethical and religious constraints are discussed.

The article explores the idea of a theatrical event created based on a spectator's observation and contemplation. The author argues that the distance between a work of art and exterior reality leads to a change in the relationship between a work and the public. Topics discussed include the analogy between art and an activity and how it applies to contemplation, the socialization of art, and participating in the art making process, which became popular in the 1960s, according to the article.

The article discusses the history and theatrical analysis of the journal "Censeur dramatique," published between August 1797 and June 1798 by Grimod de la Reynière. Topics discussed include the relationship between the audience and the theater, the daily life of the audience and its intersection with theatrical criticism and the theatrical experience, and the relationship between contemporary theater and public debates in the civil and political spheres, as well as the relationship between the audience and theatrical analysis.

Abstract: Madame Butterfly, which Puccini composed at the age of 45, represents “the most sincere and the most evocative opera he had ever imagined”. It corresponds probably to an inner work inspired by living through archaic representations again, strongly invested in by his deeply melancholic personality and by the relations he drew up between love and death. The opera allows the audience to share all the emotions that the composer expresses though his personae, called “figures of fiction” by André Green. The study of the sources and origin of the opera Madame Butterfly, at the beginning of the XXth century marked by “Japanism”, shows that Puccini succeeded in expressing musically the conflict between the Japanese world settled in its traditions and the American world, thoughtless, conquering and occasionally cruel. Puccini, in 1904, was a forerunner of our musical relations with Japan. [Copyright &y& Elsevier]

Abstract: The experience of being confronted with a unique theatrical event has been commented on in this article. In extremis, a theater director had to replace one of the principal actors. Rather than taking on his role, she chose to convey the actor''s presence through comments over the microphone with the help of audio or video recordings made during previous rehearsals, neither of which in fact gave a true reflection of the actor''s presence. However, the audience found that the way in which the director had reconstructed the actor''s absence was a theatrical technique that was very effective, and which should be repeated. This particular experience raised the question of what is true and what is not, and the confusion between the two. It also raises the question of what defines the essence of a theatrical performance, its power of suggestion, and its limits. [Copyright &y& Elsevier]