Abstract
Stage and auditorium, inside and outside, 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 : would seem to be the world. And how does this shared pact of illusion produce images that are truer than life? At a time when Eric Ruf has just staged Claudel's Le Soulier de satin (The Satin Shoe), a work reputed to be unrepresentable, not least because of the multiplicity of its locations, the stage is resolutely the box of all stories.
Béline Dolat
Journalist, editor-in-chief, producer and program advisor for France Culture, Béline Dolat has worked for France Télévisions, Le Figaro, Le Monde, Radio France and Condé Nast. In 2011, for the launch of M magazine, she joined the Le Monde group as deputy editor-in-chief of Fashion and Culture. She is then appointed Program Advisor at France Culture, and until 2020, Editor-in-Chief of GQ magazine's print and digital editorial teams. In July 2020, she created JOAUNE, a structure for reflection, experimentation and editorial production, the framework for her collaboration with the Comédie-Française.
