French Literature Reviews - 2026
A. Astruc, Or, hors, oreilles. Entretiens sur le théâtre
Theatre and Performance
Bibliographic reference: Alain Astruc, Or, hors, oreilles. Entretiens sur le théâtre, Presses universitaires de Vincennes, "Théâtres du Monde" series, 2010. EAN13: 9782842922580.
New publication from PUV (Presses universitaires de Vincennes):
Alain ASTRUC
Or, hors, oreilles. Entretiens sur le théâtre
"Théâtres du monde" series
2010
184 pages
Price: €15
This small volume, the third in the "Théâtres du monde" series edited by Brigitte Le Guen, is a reissue of the book published under the same title in 2001 by Éditions La Guillotine, which is now out of print.
Cécile Duval, who currently directs the Théâtre d'Or founded by Alain Astruc (1924-2001), played an active role in this republication.
The work, prefaced by Robert Abirached, consists of interviews with contemporary film and theatre artists influenced by the teaching of Alain Astruc: Bernard Bennech, Marc Zammith, Blaise and Claude Merlin, and Claude Buchvald. These interviews focus on theoretical reflections on the body, acting, the director's craft, the relationship with the audience, the voice (considered more important than the gaze), and improvisation.
This volume situates itself within the rich tradition of twentieth-century French theatrical pedagogy and avant-garde practice. By focusing on the teachings of Alain Astruc, the founder of the Théâtre d'Or, the text highlights a performance philosophy that prioritizes the auditory and physical dimensions of acting over mere visual spectacle. Astruc's approach challenges conventional text-based drama, emphasizing instead the immediacy of improvisation and the somatic presence of the actor. Through these dialogues, readers gain insight into a post-war theatrical movement that sought to redefine the relationship between the stage, the performer's body, and the listening audience.
Or, hors, oreilles serves as an invaluable resource for theatre practitioners, actors, directors, and scholars of performance studies. It addresses fundamental questions regarding the mechanics of acting, the limits of improvisation, and the director's role in shaping live performance. By exploring why the voice holds a more critical function than the gaze in Astruc's methodology, the book offers practical and theoretical tools for anyone interested in vocal training and physical theatre. It provides a rare, collaborative look at how pedagogical theories are translated into practice by contemporary artists working in both film and theatre.