The Spectator as Creator in Contemporary French Theatre

Abstract

Perhaps the most noticeable feature of the theatre of the sixties and seventies has been the proliferation of small, generally independent, theatre groups. This phenomenon has not been limited to France but has spread throughout Europe and North America. For the most part, the groups have sought to reform, if not reject, conventional theatre practices, be it the method of productions, the dramatic language or the nature of the dramatic experience itself. Their alternative approaches have focussed attention on the process of dramatic creation. As a result, terms such as ‘collective creation’ and ‘audience participation’ have become critical clichés. But, whereas the practice of the former has been discussed widely both in the context of specific groups and of the general development of contemporary drama, the concept of audience participation has remained vague. Thus, much has been written on the transfer of creative responsibility from author to acting company and on the accompanying change in status of the actor, but the position of the spectator as a creative force has received little detailed treatment.