000			01594cam a2200157 4500500
005			20250112022451.0
041			_afre
042			_adc
100	1	0	_aNeveux, Olivier _eauthor
245	0	0	_aDeclaration of State
260			_c2005.
500			_a98
520			_aHow are we to understand the idea of a “political theatre,” an idea which can be traced back to Erwin Piscator, the communist stage-director? How indeed, now that the very meaning of “the political” appears to have undergone a sea-change, so that it encompasses a series of heterogeneous practices and modalities, and when the event of October 1917 no longer suffices to signpost the perspectives of struggle? Such a question assumes a particular resonance in the theater of Alain Badiou. Badiou’s political and philosophical engagement stands out from any ordinary, routine grammar of political or revolutionary discourse. His theater bears the implicit traces of this rupture with the ordinary expectations of the political and the revolutionary. Badiou’s play, Ahmed le subtil, thus appears to enact a singular gesture, offering as it does the example of a militant theatre bound by its pledged fidelity to the emancipatory event (such as the 1984 labor strike in the Talbot factory). This fidelity resists any thematic capture on the part of the “capitalist-parliamentary” regime, while also exceeding the frame of an explicitly militant theatre.
786	0		_nActuel Marx | o 38 | 2 | 2005-09-01 | p. 179-192 | 0994-4524
856	4	1	_uhttps://shs.cairn.info/journal-actuel-marx-2005-2-page-179?lang=en
999			_c139525 _d139525