To browse Academia. For this presentation, we will draw on the group of schematic images, and more speci cally the tableaux vivants that make it up. The use that is made of inaction and movement will be examined in order to envision how the indetermination that is thereby created fosters a feeling of the uncanny. In his study on the movement of statues, Kenneth Gross for his part suggests that the encounter between human life and the world of objects serves to go beyond systems of opposites and to ensure a survival of life in death.
Following Gross, we could thus put forward that the performances under study, in which individuals remain inactive, make up a way of embodying opposites and death by picturing, at least a partial, deliverance from it. Chapter 2: Survivals and the uncanny p.
What is remembered of the Cricot 2 theatre practice-between actors, objects, and photographs? What particular conditions of production of the Cricot 2 are remembered in exhibitions? What returns in the impasse between formalism and naturalism?
How does the past of Kantor's theatre, with the "example" of the Cricoteka as a "living archive", resist the claims of what is "post"modern? How do claims for the autonomy of art resist those for their historical specificity-whether as avant-garde or anachronistic?
In place of a conclusion: how might "the return of Odysseus" offer an image of and for the concept of the theatre of death, in the testimony that Kantor's appearance "on stage" offers to the short twentieth century?
