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| - LA THESE EST CONSACREE A LA PLACE DU PUBLIC AU THEATRE. UNE SERIE D'ETUDES DE TERRAIN, EFFECTUEES ENTRE 1986 ET 1994 SUR UNE DIZAINE DE SPECTACLES OU LE PUBLIC, COMME DANS LA MAJORITE DES CAS, DEMEURAIT ASSIS ET QUASI SILENCIEUX, A PORTE SUR L'ENSEMBLE DE LA REPRESENTATION, SCENE ET SALLE. CES ETUDES CONDUISENT D'ABORD A REMETTRE EN QUESTION LA CONCEPTION GENERALEMENT ADMISE DU LIEU THEATRAL : A L'IMAGE SIMPLE DE DEUX ZONES JUXTAPOSEES, UNE ZONE OU L'ON VOIT, UNE ZONE DONNEE A VOIR, VIENT SE SUBSTITUER CELLE D'UN ESPACE PLUS COMPLEXE CRISTALLISANT LES DEUX SPATIALITES HETEROGENES DU REGARD (CARACTERISEE PAR LA RECIPROCITE) ET DE L'OUIE (CARACTERISEE PAR LA CONTINUITE). NI DISPOSITIF DE LECTURE, NI AIRE DE JEU COLLECTIF, LE THEATRE APPARAIT COMME UN DISPOSITIF D'ENTRE-DEUX AVEC SUR SCENE DES FIGURES SPECTATRICES ET DANS LA SALLE DES OBSERVATEURS DRAMATISES. LA RELATION ENTRE LES DEUX POLES, INEXPLICABLE SELON LES SCHEMAS COMMUNICATIONNELS CLASSIQUES, EST DECRITE COMME UNE GRANDE INTERACTION, UN MODE ORIGINAL DE FACE A FACE (SALLE-RIDEAU DE VISAGES), UNE CONSTRUCTION D'EMOTIONS FAISANT ENSUITE RETOUR DANS LE SPECTACLE, PRINCIPALEMENT PAR LE BIAIS DU CANAL ACOUSTIQUE (SALLE-RESONATEUR). LA FONCTION DE L'ASSISTANCE, NON DIRE UN SENS PRECIS MAIS PRECISER UN SENS NON DIT, PEUT ETRE QUALIFIEE D'HERMENEUTIQUE. POUR RENDRE COMPTE DE LA FACON DONT LA SALLE DE THEATRE ORGANISE DANS DES LIMITES TOUJOURS ASSEZ ETROITES L'INTERPRETATION STRUCTURELLEMENT PLURIELLE DE SES DIFFERENTES ZONES, L'IMAGE DE L'ORCHESTRE S'EST IMPOSEE. UTILISE EN ANTHROPOLOGIE, LE MODELE ORCHESTRAL EST FINALEMENT RETENU. IL PERMET DE PRECISER LA NOTION DE CHORALITE TELLE QU'ON L'A OBSERVEE A L'OEUVRE DANS LES PUBLICS CONTEMPORAINS.
- THE THESIS IS DEVOTED TO THE ROLE OF THEATRE AUDIENCES. A SERIES OF FIELD STUDIES MADE BETWEEN 1986 AND 1994 ON A DOZEN SHOWS IN WHICH THE AUDIENCES - AS IS MOSTLY THE CASE - REMAINED SEATED AND ALMOST SILENT, WAS FOCUSED ON THE WHOLE PERFORMANCE - STAGE AND AUDIENCE. THESE STUDIES FIRST LED TO CHALLENGE THE GENERALLY ADMITTED CONCEPTION OF THE THEATRICAL PLACE : THE SIMPLE IMAGE OF TWO JUXTAPOSED AREAS - AN AREA FROM WHICH YOU SEE, AN AREA THAT IS SEEN - GAVE WAY TO AN IMAGE OF A MORE COMPLEX SPACE THAT CRYSTALLIZES THE TWO HETEROGENEOUS SPATIALITIES OF SIGHT (CHARACTERIZED BY RECIPROCITY) AND HEARING (CHARACTERIZED BY CONTINUITY). DIFFERENT FROM A READING DEVICE OR A COLLECTIVE PLAYING FIELD, THEATRE APPEARS AS AN INBETWEEN DEVICE WITH SPECTATOR-FIGURES ON STAGE AND DRAMATIZED OBSERVERS IN THE AUDIENCE. THE RELATIONSHIP BETWEEN THE TWO POLES, WHICH CANNOT BE EXPLAINED BY CONVENTIONAL COMMUNICATIONNAL PATTERNS, IS DESCRIBED AS A GREAT INTERACTION, AN ORIGINAL WAY OF FACING EACH OTHER (AUDIENCE AS CURTAIN OF FACES), A CONSTRUCTION OF EMOTIONS THAT ARE BROUGHT BACK INTO THE SHOW - MOSTLY THROUGH THE ACOUSTIC CHANNEL (AUDIENCE AS RESONATOR). THE FUNCTION OF THE AUDIENCE - WHICH IS NOT TO TELL A DEFINITE MEANING BUT TO DEFINE FURTHER A MEANING WHICH IS NOT TOLD - CAN BE CALLED HERMENEUTIC. TO ILLUSTRATE THE WAY IN WHICH THE AUDIENCE ORGANIZES THE STRUCTURALLY-PLURAL INTERPRETATION OF ITS DIFFERENT AREAS WITHIN LIMITS THAT ARE STILL RATHER NARROW, THE IMAGE OF THE ORCHESTRA STOOD OUT. USED IN ANTHROPOLOGY, THE ORCHESTRAL PATTERN WAS EVENTUALLY CHOSEN. IT MADE IT POSSIBLE TO DEFINE FURTHER THE CONCEPT OF CHORALITY AS WE OBSERVED IT WORKING IN CONTEMPORARY AUDIENCES.
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