Le corps dans le théâtre de la catastrophe de Howard Barker

Abstract : A "contemporary classic" as he portrays himself, Howard Barker remains a singular voice in English cirama. Against the English tradition of social realism and In-Yer-Face nihilism, the Theatre of Catastrophe sets up a new aesthetics of cruelty. The dramatic context of the plays explores the powerful paradigm of flesh whilst resisting the new orthodoxy of the body overwhelmingly present in society and art. The play disappoints the audience's expectation of a message, transgresses the limits of intimacy instead; visceral passion is exhibited beyond moral judgement. The chaotic perspective of the body in pain in the post-ethical world of the afler-Shoah is mirrored within the fi-agmented structure of the plays. The analysis opens on an inventory of the mutiiated body, then moves on to anatomy both as a transgression of intimacy and an epistemological and ontological quest. The compulsive need to look inside the human body leads to a reflection on the role of the audience in the spectacle of flesh, questioning the ethics of today's visual aesthetics. In dramatic representation, the body is caught in a dialectics between exhibition and concealment, revelation and secrecy. The conspicuous display of the body gradually fades out in later plays on behalf of language and the spoken voice. As insignificance leads to silence, so the aesthetics of transgression point to the spectrality of the body
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Christine Kiehl. Le corps dans le théâtre de la catastrophe de Howard Barker. Linguistique. Université Paul Verlaine - Metz, 2005. Français. ⟨NNT : 2005METZ002L⟩. ⟨tel-01752438⟩

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