The 2005 Avignon Theatre Festival sparked a vast controversy about the insistent presence of bodies (whether wounded, broken, or humiliated) on stage. Without subscribing to the reactionary critical response to the Festival, it is legitimate to return to the debate in order to question the ubiquity of the “victim body” in contemporary theatre. Such representations, far from being heterodox, are in fact part of the massive ideology of “the ethical”, as diagnosed by Alain Badiou. The oppressed body thus tends to (...) be assimilated to the body of the victim. The result is the obliteration of the resistance of subjects to their oppression, or of their active response to it, theatre being reduced to the maxims of a democratic materialism: “there are only bodies and languages”. (shrink)

The Arts and the Revolution. Some Theoretical and Practical Elements of the Overall Problematic In the strict sense, there is no “Marxist aesthetics”. The writings of Marx and Engels on the question, whatever their riches, are too disparate and fragmentary to amount to a system. What does however exist is a history of the links and articulations between art, creation, and the perspectives of emancipation, and in this history the writings of Marx and Engels can legitimately claim a place. This (...) history is neither linear nor homogenous. The purpose of the introduction is thus to address four major debates which resonated through the 20th century: about the avant-gardes, about realism, about militant art, about the utopian dimension of art. These debates, whose importance and influence is variable, mobilised artists and thinkers in the 20th century. They could either crystallise in a particular time and place or, on the contrary, they could span several decades. Unresolved, these debates still remain, today, laden with productive contradictions. (shrink)

Herbert Marcuse’s Idea of the “Great Refusal” Herbert Marcuse is almost invariably cited in the numerous books and articles dealing with May 1968. Without question, the philosophical and political positions which he defended resonate with the struggles and aspirations of a period both rebellious and utopian, in which anti-imperialist, anti-colonial, third-world and anti-capitalist struggles were mingled with new forms of social mobilisation, directed against whatever could hamper and compromise the possibility of living fully in the present. Marcuse notably addressed the (...) question of alienation, affirming that, here and now, an other life is possible. While Marcuse, with the mixture of pessimism and optimism which animates him, does recognise that the path to emancipation remains a long one, he does not despair of the capacity of the “wretched of the earth” to refuse resignation and rebel against their fate. (shrink)

Several contemporary artists represent or stage bodies which have been blatantly marked by History and by their own history. This marking may be determined by their social embedding (in terms of the social class to which they belong, their ethnic or gender origin), or may be a question of the confrontations and ordeals imposed upon them by the societies within which they act. Contrary to the predominant, normative exhibition of bodily purity, contemporary art presents bodies which are impure, ambiguous, or (...) disquieting. Faced with the various powers (political, economic, ideological, moral, religious, scientific, technological) which, as in the past, seek to subject the body, art avails of its capacity to conjure up certain images in which, whether as an absence or as a presence, the body of rebellion reverberates. (shrink)

Le caractère destructif ne voit rien de durable. Mais pour cette raison précisément il voit partout des chemins. Là où d’autres butent sur des murs ou sur des montagnes, il voit également un chemin. Mais parce qu’il voit partout un chemin, il doit également partout déblayer le chemin. Pas toujours par la force brutale, parfois avec une force raffinée. Parce qu’il voit partout des chemins, il est lui-même à la croisée des chemins. Aucun instant n’est en mesure de préjuger du (...) suivant.Il transfo... (shrink)