Abstract
Most twentieth-century European theatre directors have been indissociable from the theatre companies they have founded; no closer relationship between director and company can be found than that between Ariane Mnouchkine and the Théâtre du Soleil. It is within this semi-egalitarian business structure and improvised working methodology that emerged a theatre practice that was to be emulated throughout the world: création collective. One of Mnouchkine’s greatest directorial triumphs and perhaps the pinnacle of achievement in terms of the creation of a new acting form was in the production of Hélène Cixous’s play, written specifically for the company, Tambours sur la digue (Drums on the Dam, 1999). Summing up over 50 years of the journey undertaken by the Théâtre du Soleil in terms of theatrical practice, it is very easy to identify collective creation and an Orientalised acting form as the foundations of a working method.
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