Une nouvelle figure de l’artiste : le metteur en scène de théâtre

Abstract

Apparu au moment de l’émergence de la mise en scène à la fin du XIXe siècle, le groupe des metteurs en scène ne se constitue véritablement en tant que tel qu’à partir des années 1950 sous l’effet de deux transformations concomitantes : rupture avec la primauté de la littérature et affirmation de l’autonomie des principes esthétiques liés à la scène ; intervention publique qui, progressivement, tend à favoriser les metteurs en scène les plus engagés dans une logique d’innovation artistique. L’auteur analyse ensuite la double posture du metteur en scène du théâtre public : celle de l’artiste manifestant sa distance croissante à l’égard des attentes du public ; celle de l’intellectuel intervenant dans l’espace politique et confronté, dans le même temps, au jugement de ses pairs. Theater directors emerged as a group as more emphasis was laid on staged productions in the late 19th century; but they did not form a real group till the 1950s owing to two concomitant changes. For one thing, there was a break with the primacy of literature, as a claim was made for the autonomy of the aesthetic principles governing stage productions. For another, public policy tended to gradually favor those directors who were most committed to artistic innovation. The “double posture” of the directors of publicly subsidized theaters is analyzed, a posture combining two main sources of authority: that of the artist who increasingly distances himself from the expectations of the public, and that of the intellectual who intervenes in politics and must cope with the judgment of his congeners. This analysis sheds light on the contemporary conditions for forming an artistic group. Artists do not just produce new aesthetic forms; they can only exist at the crossroads between the artistic, political and intellectual spheres.

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