Abstract
Available definitions of le théâtre d’images, or “image theatre” (also called “dance-theatre”), often contradict each other. For some, le théâtre d’images is a distinctive theatrical aesthetic emphasizing visual spectacle and minimizing spoken language (Lévesque “Carbone”). For others, it is a technique akin to sculpture (Pavlovic 22-29; Hood 50-67). Still others emphasize its desired effects (Vigeant 7-16). Despite the differences in emphasis, most of the criticism privileges the role of the body in the technique and production of images. The body is understood as the primary sign among stage-signs whose goal is to create a strong sensory impression. For example, Bonnie Marranca describes the actor’s function in the US-based “theatre of images” as “media through which the playwright expresses his [sic] ideas; they serve as icons and images” (xi).
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