Abstract
Stage and auditorium, interior and exterior, stage curtain and iron curtain - these are all relationships that can be found both in the theater building and in the object of the performance given there. What, then, is this cramped, rough, black box in which, on either side of the curtain, a pact is forged that could be described as childish : it seems as if the world were here. And how does this shared pact of illusion produce truer-than-life images ? At a time when Éric Ruf has just staged Claudel's Le Soulier de satin (The Satin Shoe), a work reputed to be unrepresentable, not least because of its multiplicity of locations, the stage is resolutely the box of all stories.
