D'un Revizor à l'autre (petite histoire du « mal russe » à travers ses représentations scéniques)

Abstract

From one Revizor to another : a short history of Russian evil through Revizor 's performances Considered by Gogol as a crystallization of Russian evil, Revizor has served since 1 836 to enlighten the state of the theatre and society, both before and after the advent of stage directing. When the play was created at the Aleksandra Imperial Theatre, Gogol discovered the inadequacy of the actors of his time with the requirements of the work. The writer advocated a deeply felt, internalized style of acting. Stanislavski based his work with the actor on the principles of a natural, emotional, coherent playing and, not unexpectedly, worked on Revizor at every key moment of his career (1908, 1921, 1937). The history surrounding the performances of Revizor at the beginning of the 20th century focuses on an alternative approach : individual and inventive actors playing or innovative concepts for stage directing. In the 1970s, Revizor, as a genuine classic, charted the progress of theatrical work and expressed civic concerns. After the fall of the Soviet Union and the first blows of wild capitalism, V. Fokine, in 2002, developed the theme of madness in his version of Revizor. By 2009, Koliada's Revizor belonged to a folk repertoire with its songs, rituals and picturesque figures., After serving as a test for the history of theatre and national history, Gogol today seems to have come to the right pitch with the collective unconscious.