A bas la censure ou le leurre d’une liberté sans limites

Abstract

The article follows the premises that there is no art without constraints or limits, no matter the society system. In the theatre world, sometimes, new rules and limits are invented to strongly affirm the specificity of the realm, or to define new tasks. But, in order to affirm a new road, one must find an opposition statement with the same intransigence and coherence of what is left behind. Many artists have rediscovered in recent years the power of the dogma, or a new credo freely accepted, to reveal new issues. As such, ”Dogma 95”, of the Danish filmmakers, followed in France by ”Vitenberg’s little brothers” of Cyril Teste with another ”Manifest” which opens up a dialogue between film image and theatre acting. Milo Rau with his ”Gand Manifest” goes even further towards a radically political theatre, while Alvis Hermanis, proposes a categorical refuse of the notion of politically correctness, seen as a new form of censorship, and under the guise of a general tolerance, he gets lost in a ”no win” situation. Finally, some answers of two young directors, Alexandra Badea and Eugen Jebeleanu, in a dialectical rapport with the reality and its multiple levels.