Zeitschriftenartikel: „Avignon Festival“

1

Amargier, Nathalie. „Avignon, Festival Off 1997“. Revue Russe 12, Nr. 1 (1997): 57–58. http://dx.doi.org/10.3406/russe.1997.1952.

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2

Miller, Judith Graves. „Performance Review: Avignon Theatre Festival“. Theatre Journal 49, Nr. 1 (1997): 63–65. http://dx.doi.org/10.1353/tj.1997.0015.

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3

Schneider, Robert. „Avignon Theatre Festival Strike (review)“. Theatre Journal 56, Nr. 2 (2004): 296–99. http://dx.doi.org/10.1353/tj.2004.0072.

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4

Chalaye, Sylvie. „Avignon 2006. Un festival en sol“. Africultures 68, Nr. 3 (2006): 164. http://dx.doi.org/10.3917/afcul.068.0164.

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5

Faivre d�Arcier, Bernard. „Le Festival d�Avignon, terre de colloques“. L'Observatoire N�48, Nr. 2 (2016): 15. http://dx.doi.org/10.3917/lobs.048.0015.

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6

Salazar-Martin, Florian. „La magie politique du Festival d�Avignon“. L'Observatoire N�48, Nr. 2 (2016): 24. http://dx.doi.org/10.3917/lobs.048.0024.

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7

Miroir, Groupe. „Shakespeare at the Avignon Festival in 2015“. Cahiers Élisabéthains: A Journal of English Renaissance Studies 90, Nr. 1 (Juli 2016): 171–75. http://dx.doi.org/10.1177/0184767816648908.

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8

Chalaye, Sylvie. „Avignon 2009 : Festival et histoires de lézards“. Africultures 79, Nr. 4 (2009): 200. http://dx.doi.org/10.3917/afcul.079.0199.

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9

Hong, Ran Joo, und Young Seob Shin. „Company See-Sun's Avignon Off Festival Promotion Actual“. Journal of Korean Theatre Education 36 (30.06.2020): 325–49. http://dx.doi.org/10.46262/kte.36.1.9.

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10

March, Florence. „Amateur reviewing at the Avignon Festival: the “Mirror Group”“. Cahiers Élisabéthains 81, Nr. 1 (01.01.2012): 133–39. http://dx.doi.org/10.7227/ce.spiss12.20.

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11

Fabiani, Jean-Louis, und Emmanuel Ethis. „O Festival e a cidade: O exemplo de Avignon“. Revista Crítica de Ciências Sociais, Nr. 67 (01.12.2003): 07–30. http://dx.doi.org/10.4000/rccs.1106.

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12

Kohler, Michael. „Festival D'Avignon, Avignon, France, 16-18 July 1999 (review)“. Theatre Journal 52, Nr. 2 (2000): 263–66. http://dx.doi.org/10.1353/tj.2000.0048.

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13

Looseley, David. „The World Theatre Festival, Nancy, 1963–88: a Critique and a Retrospective“. New Theatre Quarterly 6, Nr. 22 (Mai 1990): 141–53. http://dx.doi.org/10.1017/s0266464x00004218.

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Unlike Avignon, still active after more than forty years, the once notorious Nancy Festival has slipped unobtrusively into history. David Looseley sets out here to trace this itinerary. After reviewing the festival's origins and its importance for the experimental theatre of the 1960s, he examines what became of it in the bleaker decades which followed, and assesses the meaning of its decline. David Looseley, who teaches in the Department of Modern Languages at the University of Bradford, is currently engaged in research funded by the Leverhulme Trust into the politics of culture in contemporary France. His published work includes a book on the theatre of the twentieth-century French dramatist Armand Salacrou.

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Denkova, Lidia, und Alain Badiou. „Rhapsody for the Theatre. Between Dance and Cinema“. Sledva : Journal for University Culture, Nr. 39 (20.08.2019): 4–13. http://dx.doi.org/10.33919/sledva.19.39.1.

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A chapter from Alain Badiou’s dialogic book (with Nicolas Truong) on the condition of theatre today, its merging borders with other arts and media and its challenged perspectives tomorrow. This philosophic pamphlet is based on a public talk given by the famous philosopher at the Avignon Theatre Festival. Translated in Bulagrian by prof. Lidia Denkova.

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15

Lanskin, Jean‐Michel Charles. „Antoine Vitez re‐staging Molière for the 1978 Avignon festival“. Contemporary Theatre Review 6, Nr. 1 (August 1997): 13–35. http://dx.doi.org/10.1080/10486809708568406.

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16

Ruppel, Daniel J. „Global Imaginaries and Elephantine Artifice“. TDR: The Drama Review 66, Nr. 4 (Dezember 2022): 83–108. http://dx.doi.org/10.1017/s1054204322000582.

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Labyrinthe Royal de l’Hercule Gaulois triomphant (Avignon, 1601) documents a ceremonial performance that happens more in the time of reading than a historical moment. Focusing on discrepancies between a vivid image of elephants and a description attesting that there were none reveals how this document makes the festival “present” by suspending the reader between allegory and history, representation and performance, and most importantly, the presence and(/as) absence of racialized “Mores” driving the fictitious pachyderms.

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17

Py, Olivier, und Jean-Pierre Saez. „Le Festival d�Avignon comme sc�ne de l�espoir politique“. L'Observatoire N�48, Nr. 2 (2016): 11. http://dx.doi.org/10.3917/lobs.048.0011.

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18

Jannarone, Kimberly. „Le Théâtre Du Peuple, and: Avignon Festival (review)“. Theatre Journal 64, Nr. 2 (2012): 253–57. http://dx.doi.org/10.1353/tj.2012.0052.

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19

Fabiani, Jean-Louis. „The Audience and Its Legend: A Sociological Analysis of the Avignon Festival“. Journal of Arts Management, Law, and Society 32, Nr. 4 (Januar 2003): 265–77. http://dx.doi.org/10.1080/10632920309596980.

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20

Lieblein, Leanore. „‘Les Grecs’ à la Française“. Theatre Research International 18, Nr. 2 (1993): 123–37. http://dx.doi.org/10.1017/s0307883300017284.

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In July 1989 the ‘trilogy’ of Œdipe et les oiseaux, directed by Jean-Pierre Vincent with decor and costumes by Jean-Paul Chambas and dramaturgy by Bernard Chartreux, was presented in its ‘premier état’ at the Festival of Avignon. This preliminary version consisted of full scale productions of Œdipe tyran and Œdipe à Colone by Sophocles in new translations by Chartreux, and a reading of Cité des oiseaux, Chartreux's adaptation of The Birds by Aristophanes. The definitive version was presented at the Théâtre des Amandiers in Nanterre. Tyran and Colone opened in October and played in alternation until joined by Oiseaux in November. The complete trilogy—the three plays in succession on a single day—was performed to sold out houses on five successive Saturdays in November and December.

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21

Stuart, Ian. „A Political Language for the Theatre: Edward Bond's RSC Workshops, 1992“. New Theatre Quarterly 10, Nr. 39 (August 1994): 207–16. http://dx.doi.org/10.1017/s0266464x00000518.

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Disillusioned by what he sees as the inadequate state of the British theatre, Edward Bond has refused to have some of his more recent plays produced in this country, although they have been seen in productions on the Continent. This year's Avignon Festival will thus be focusing on his work, and later in 1994 the Berliner Ensemble will be staging Olly's Prison. In 1992, however, Bond worked – for the first time since the late 1980s – with members of the Royal Shakespeare Company, resuming in workshop conditions his attempt to develop a distinctive acting style for his work. Commenting on the programme of workshops, and through subsequent interviews with Bond and some of the actors involved, Ian Stuart, who teaches in the School of Theatre at the University of Southern California, attempts to draw conclusions about Bond's current theatre methodology.

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22

Baïraktari, Maria. „Dialectic aspects between periphery and center: the translations of Aeschylus’ tragedies into French by Olivier Py“. Romanica Wratislaviensia 68 (16.07.2021): 27–38. http://dx.doi.org/10.19195/0557-2665.68.3.

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“Periphery” and “centre” are two concepts which could be examined in terms of geographic, linguistic, or cultural variations and constants at different periods of human history. If world literature is a united system, with an unequal center and periphery, the interlinguistic translation of Aeschylusʼ tragedies into French by Olivier Py in the twenty-first century will serve as an example in order to highlight the various facets of this multidimensional relationship. Olivier Py, an award-winning prose and theatre writer, poet, director, actor, translator, director of the Avignon Festival since 2013, translated and directed all seven surviving Aeschylean tragedies between 2008 and 2017. He thus played the role of a cultural mediator who ensured the transition from the source language to the target language by creating texts designed to be presented on stage, and following the priorities of the codified theatrical discourse of tragedy. Based on this process, the author exam-ines the various spatio-temporal and cultural relationships between periphery and centre in order to present the main points of Olivier Py’s translation strategy.

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23

Cărbunariu, Gianina, und Bonnie Marranca. „The Reality of Fiction“. PAJ: A Journal of Performance and Art 38, Nr. 2 (Mai 2016): 112–22. http://dx.doi.org/10.1162/pajj_a_00323.

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In the last decade, the playwright and director Gianina Cărbunariu has become one of the prominent young voices in contemporary European theatre. Mihaela, the Tiger of Our Town, which premiered at the Royal Dramatic Theatre in Stockholm, will be performed at the 2016 Avignon festival by Sweden's Jupither Josephsson Company. Other plays include Stop the Tempo, For Sale, Typographic Letters, Solitarity, Metro is Everywhere, and mady-baby.edu (later titled Kebab). The plays have been translated into more than fifteen languages, and they have been performed in Romanian cities and in theatres across Europe, in Berlin, Munich, Paris, Madrid, Brussels, Vienna, Athens, Warsaw, Budapest, Dublin, and elsewhere in Moscow, Istanbul, Santiago de Chile, New York, and Montreal. Cărbunariu has had residencies at the Lark Theatre in New York and London's Royal Court. Her plays and productions have received numerous awards in Romania and in Canada. She is a founding member of the dramAcum independent theatre group in Bucharest. This interview was taped in New York City on December 19, 2015.

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24

Campos, Liliane. „This is Not a Chair: Complicite's Master and Margarita“. New Theatre Quarterly 30, Nr. 2 (Mai 2014): 175–82. http://dx.doi.org/10.1017/s0266464x14000281.

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In this article Liliane Campos links Complicite's Master and Margarita (2011) to the company's previous productions, from The Street of Crocodiles (1992) to Shun-Kin (2008). She develops a close analysis of The Master and Margarita as it was staged at the Avignon Festival in July 2012, arguing that the company's aesthetic is characterized by a tension between narrative fragmentation and visual connections. While Complicite's shows overflow with postmodernist multiplicity and division, the urge to connect these ‘shards of stories’ is a driving force in Simon McBurney's artistic direction. This dynamic is explored here both on a semantic level, as a consequence of Complicite's physical language, and on a narrative level, through the use of framing and frame-breaking devices. The article highlights the company's recurrent themes and the defining traits of its performance style. Liliane Campos is a Lecturer in English and Theatre studies at the Sorbonne Nouvelle University in Paris. She has published various articles on British drama and performance, and two books about the role of science in contemporary writing and devising for the theatre.

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25

Wilson, Robert, und Maria Shevtsova. „Covid Conversations 5: Robert Wilson“. New Theatre Quarterly 38, Nr. 1 (Februar 2022): 1–26. http://dx.doi.org/10.1017/s0266464x21000385.

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World-renowned for having made a totally new kind of theatre, director-designer Robert Wilson first astonished international audiences in Paris in 1971 with Le Regard du sourd (Deafman Glance) and then with his twenty-four-hour Ouverture at the first edition of the Festival d’Automne in 1972. He also refers in this Conversation to Einstein on the Beach, premiered at the Avignon Festival in 1976, as another example among more of France offering him a home before he eventually founded the Watermill Center in 1992 on Long Island in the State of New York. Watermill, a laboratory for multidisciplinary creativity, opened its doors to the public in 2006 and is a focal point of the Conversation as a whole. Wilson’s immediately pre-Covid-pandemic production of The Messiah by Mozart was premiered at the Mozartwoche Salzburg in February 2020 and performed subsequently in Paris during a brief Covid ‘lull’ in September of that year. Discussion of this pivotal work leads to reflections on the opera productions that he had staged not so long before it, emphasizing the elements fundamental to his compositions – light, time, space, architecture, and silence. The Conversation, followed by audience questions addressed to Wilson, took place live online and on Facebook on 4 December 2020 as a prelude to the Festival Internacional Santiago a Mil in Chile, which opened on 3 January 2021. This was the Festival’s twenty-eighth year, but in a significantly restricted form due to Covid-19. A sequel to the Santiago interchange, also online but this time located in Paris, occurred on 17 September 2021. It resumes dialogue mainly on the Watermill Center’s broader cultural and social goals in the present and for the future, noting as well Wilson’s then current activities in Paris: a heavy schedule of four productions from the beginning of September to the end of December 2021, and a sound installation planned for 2022.Maria Shevtsova gratefully thanks the Fundación Teatro a Mil and its General Director Carmen Romero for their initiative in inviting Robert Wilson with her to converse publicly as part of the Festival a Mil, and for permission to edit the transcript for publication in New Theatre Quarterly. Thanks are due to interpreters Margit Schmohl and Jorge Ramirez, and to Maria Luisa Vergara for organizing the audience participation included below, as well as to Alfonso Arenas, former Coordinator of the Education and Communities Area at the Theatre Foundation a Mil. Warmest gratitude is extended to Robert Wilson for his generosity in all sorts of ways, and not least for finding the time to continue the Conversation in Paris. Thanks for their kind support to Nuria Moreno, Production at Teatro Real Madrid, Christof Belka, Executive Director of RW Work Ltd, Clifford Allen, Director of Archives of the Watermill Center, and Leesa Kelly and Noah Khoshbin, curators of the 2021 outdoor exhibition Minneapolis Protest Murals at the Crossroads Summer Festival held at the Watermill Center. The exhibition presented 190 public artworks from the 900 boards of the Minneapolis Protest Murals which were created organically in Minneapolis following the murder of George Floyd on 25 May 2020. Special thanks for their gift of images are given to photographers Lucie Jansch, Javier del Real, Kristian Kruuser and Kaupo Kikkas, Lovik Delger Ostenrik, and Martyna Szczesna. Kunsang Kelden and Maria Shevtsova transcribed this Conversation in two parts. Shevtsova, Editor of New Theatre Quarterly and author of Robert Wilson (Routledge, 2007; updated edition, 2019) edited and annotated the combined transcript for publication.

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Similar, Anca. „The Hybrid Theater of Robert Pinget“. Theatrical Colloquia 10, Nr. 2 (01.12.2020): 58–69. http://dx.doi.org/10.2478/tco-2020-0020.

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AbstractThe theatre of Robert Pinget was acclaimed at the Avignon Festival till the 1980s, until it became in spite of itself a representative of the theatrical avant-garde greeted by numerous critics and academic texts. It appears, however, that Pinget’s theatre was the victim of a real misinterpretation. Adventurous life, where romance and destiny mingle, lay the foundations of pingétienne irony, this search for personal tone subjects to uncertainties and other contradictions Robert Pinget’s affiliation with Max Jacob’s is an attempt to approach the avant-garde, but to turn away from it in a subtle way in the last moment. This waltz-hesitation of Pinget will be the basis of a tendency to put this work in the “new novel” or the theatrical avant-garde. The literature of Pinget can be considered as a form of the art of the escape the expression of an incessantly renewed amazement through an acousmatic voice. It is through the theory of the double and the quest for secrecy that we can now reposition Pinget’s theater in the perspective of a classical theater on the very margins of the avant-garde and a striking example of an ontological incomprehension between adaptation and the message left by the author.

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Dumot, Méline. „A Contemporary Clown“. Pacific Coast Philology 56, Nr. 1 (01.04.2021): 27–40. http://dx.doi.org/10.5325/pacicoasphil.56.1.0027.

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Richard III is the perfect Shakespearean figure to look into the clowning tradition at play in the early modern theatrical world. Richard is a wise fool, who delivers the truth under comic appearances, as well as a buffoon, “deformed, unfinish'd, sent before [his] time” (Richard III, 1.3.21), who amuses the audience. Thomas Ostermeier, world renowned director of the Schaubühne Theatre in Berlin (since 1999), presented his Richard III at the Avignon Festival (France) in July 2015. His favorite actor, Lars Eidinger, largely contributed to his success. The latter chose to play a particularly dynamic Richard, in connection with the figure of the medieval Vice. Richard's role marks the pinnacle of Eidinger's acting, with a strong emphasis on improvisation. The spectators are constantly solicited. Improvisation is the perfect form of communication for the clown who mocks his audience and adapts to the conditions of live performance. Thomas Ostermeier, a keen reader of Shakespearean criticism, revisits the figure of the medieval Vice: he deploys twenty-first-century playing techniques in order to explore a complex Shakespearean heritage. Eidinger’s play mode is a perfect illustration of how the clown figure can be revisited to offer a new experience to twenty-first-century audiences.

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Gatti, Armand, Hélène Châtelain und Wesley Hutchinson. „Seventeen Ideograms and the Search for the Wandering Word“. New Theatre Quarterly 10, Nr. 38 (Mai 1994): 107–16. http://dx.doi.org/10.1017/s0266464x00000270.

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In NTQ 30 (1992) Dorothy Knowles provided a description and explication of the recent work of the visionary French director Armand Gatti. For what he calls his ‘plural writing’ projects, Gatti has increasingly come to recruit not actors but ‘actors’: those exclus or rejects who have been marginalized by society, but whose histories need both to be reclaimed and, in the process, given back to them – together with the dignity of which they have so often been stripped. Whether developing a performance within the close confines of a prison, or accommodating the constraints of ‘the system’ at the Avignon Festival, Gatti's voice and theatre are entirely distinctive – as also, paradoxically, is his ability to speak with and for the unheard voices of others. Here, he speaks for himself, describing both the inspiration and the evolution of his work in a style which characteristically combines pragmatism with lyricism. The article derives from a series of interviews conducted in 1991 by Hélène Châtelain – an actress who has worked with Gatti since 1966 – and first published in Le Monde Diplomatique for February 1992. The translator for NTQ, Wesley Hutchinson, wrote his doctoral thesis on Gatti at Trinity College, Dublin, and now lectures in the English Department of the University of Paris, Nanterre.

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Kelleher, Joe. „TAKING THE ACTORS SERIOUSL : MICHIEL VANDEVELDE S “PARADISE NOW (1968 – 2018)”“. Culture Crossroads 14 (09.11.2022): 92–103. http://dx.doi.org/10.55877/cc.vol14.94.

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The article departs from a phrase in Paul Ricoeur’s “Memory, History, Forget- ting” (2003), and attempts to take Ricoeur at his word, by taking seriously the troupe of Flemish teenage actors performing Michiel Vandevelde’s “Paradise Now (1968–2018)”, a re-working of the iconic performance by The Living Theatre, which when it was presented fifty years ago at the Avignon Festival offered itself as a preparation for its audience to take action, individually and collectively, personally and politically, beyond the space of the theatrical representation. Vandevelde and the teenagers’ re-do functions rather differently. Drawing as much on film history and news and popular media as on theatre history, it offers a compilation of iconic images winding back to 1968, an occasion for these young 21st century performer- citizens – at once theatrical actors and “actors” of their own history – to voice their ambivalence about the potentials for common action in the present moment and the times ahead. The article considers the role of the “actors” (including the absent and the dead) in historical representation. It argues that the temporal form of the serial or chronicle (one image after another in chronological order) rather than the supposedly more complex – and human – dramatic plot (which structures relations between beginning, middle and end), attends to “taking the actors seriously” – in their actions and their passions – as a pressing task for our times.

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Knowles, Dorothy. „Armand Gatti's Theatre of Social Experiment, 1989–1991“. New Theatre Quarterly 8, Nr. 30 (Mai 1992): 123–39. http://dx.doi.org/10.1017/s0266464x00006576.

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In TQ31 (1978), Christophe Campos described an earlier experiment in social theatre by the French playwright-director Armand Gatti – an attempt to politicize through theatre the depressed yet conservative town of Saint-Nazaire. Since that time, Gatti has continued to battle against (and when necessary within) ‘the system’ for his own, unorthodox kinds of theatrical endeavours. His work until the late ‘eighties formed the subject of Dorothy Knowles's pioneering full-length study, Armand Gatti in the Theatre: Wild Duck against the Wind (Athlone Press, 1988), and in the following article she supplements this book with a description and explication of Gatti's latest work, in which he has involved not actors, but ‘actors’ – those exclus or rejects who have been marginalized by society, but whose histories need both to be reclaimed and, in the process, given back to them, together with the dignity of which they have so often been stripped. Whether working within the close confines of a prison, or accommodating the constraints of ‘the system’ at the Avignon Festival, Gatti's voice and theatre is entirely distinctive – as also, paradoxically, is his ability to speak with and for the unheard voices of others. In a long career which has embraced both practical and academic theatre, Dr. Knowles is perhaps best known for her directing and writing in the field of French theatre, and is also the author of French Drama of the Inter-War Years (Harrap, 1967).

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31

Koch, Sophie. „SUZAN-LORI PARKS AND NAOMI WALLACE IN RELATION: PLAYING THE AMERICAN GAME FOR REAL AND BEYOND.“ Revista de Estudios Norteamericanos, Nr. 27 (2023): 63–81. http://dx.doi.org/10.12795/ren.2023.i27.11.

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wo American women whose writings for the theatre have been both nationally and internationally recognized, Suzan-Lori Parks and Naomi Wallace have drawn on the notion of game-playing to explore and undermine the inextricability of the power relations that govern their vision of America. Because theatre is about playing, games occupy a central position around which meaning revolves and multiplies on stage, infinitely magnified by Parks’s and Wallace’s poetic imagination. As far apart and unique as they are, their voices deeply resonate with the American landscape and beyond, echoing each other in ways that call for an examination of the correspondences that make their plays related, in the sense Edouard Glissant gave to the term, of a totality that does not exclude differences, of a meeting of pluralities, which is the stable/unstable ground of games, and of a place from where infinite beauty can spring. Parks’s The America Play and Wallace’s The War Boys, both written in the early 90s, evolved through a creative process that feeds on itself into the widely acclaimed Topdog/Underdog that earned Parks a Pulitzer Prize in 2002 and The Breach, which was produced at the Avignon Theatre Festival in 2019, expanding Wallace’s popularity in France. Through a comparative analysis of the poetics at work in these four plays, the aim of this article is to bring these two women’s voices together, placing them in relation without erasing their particularities to delineate the contours of a “relational poetics,” to again use Glissant’s terminology, one that evokes rather than explains, one that resurrects the past to reinvent our present and divine the future: an art of divination.

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Klaeui, Andreas. „Der konservative Harlekin“. Theater heute 63, Nr. 10 (2022): 14–15. http://dx.doi.org/10.5771/0040-5507-2022-10-014.

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33

Miller, Gemma. „Review of Shakespeare'sRichard III(directed by Thomas Ostermeier for the Festival d'Avignon) at the Opera Grand, Avignon, recorded 11 and 12 July and broadcast at 10:40 pm 13 July on arte Concert“. Shakespeare 12, Nr. 2 (19.10.2015): 217–19. http://dx.doi.org/10.1080/17450918.2015.1089314.

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34

Maksakovskiy, N. V., und N. S. Maksakovskaya. „Cultural heritage and event tourism as a driver of a large historical town development (on the example of Avignon, southeastern France)“. Heritage and Modern Times 6, Nr. 3 (18.11.2023): 276–305. http://dx.doi.org/10.52883/2619-0214-2023-6-3-276-305.

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The authors investigate development resources and mechanisms for managing cultural tourism in Avignon, a large historical city (200 thousand inhabitants) located in southeastern France in Provence. The main attractions of the historical center are described (in the UNESCO World Heritage List), as well as famous theater festivals and other events, that form a very powerful tourist flow to this city on the Ron – over 3 million a year. A well-developed system of internal tourist arrangement has been studied, this system allows to use the Old City territory rationally without damaging valuable architectural objects. The surroundings of Avignon are briefly described – a picturesque cultural landscape, saturated with interesting historical and natural objects. Statistics characterizing the volume, composition and seasonality of tourist flow to Avignon is given.

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GUERRERO, Isabel. „WILLIAM SHAKESPARE EN AVIÑÓN. ANÁLISIS DE SU RECEPCIÓN EN EL CONTEXTO DE UN FESTIVAL DE TEATRO“. Signa: Revista de la Asociación Española de Semiótica, 09.01.2022, 459–77. http://dx.doi.org/10.5944/signa.vol31.2022.29473.

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Este artículo analiza la representación de las obras de William Shakespeare en el Festival de Aviñón a través del análisis de los espectáculos y su recepción por parte del público y de la crítica con el objetivo de examinar cómo el contexto del festival da lugar a un tipo de recepción con características propias. Partimos de la idea de que la recepción del público en un festival de teatro es eminentemente distinta a la que tiene lugar en otros acontecimientos teatrales debido a las características particulares de este contexto. Para ello, exploramos tres aspectos fundamentales: la selección de montajes, la activación de la memoria del festival y la influencia del festival en los montajes que produce y coproduce. Abstract: This article explores Shakespeare in performance at the Avignon Festival through theatre reviews and performance analysis in order to examine how festival contexts give rise to distinct types of audience reception. It takes as its starting point that audience reception at the festival context varies significantly from that in other theatrical events. The article interrogates three main aspects about the Avignon Festival (the influence of the curation of the festival, the activation of festival memories and the influence of the festival on commissioned productions) using semiotics to conceptualize the festival.

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Zeitschriftenartikel zum Thema „Avignon Festival“

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