Constructing a radical popular theatre: Roland Barthes, Brecht and Théâtre populaire
Abstract
Constructing a radical popular theatre: Roland Barthes, Brecht and Théâtre populaire SAGE Publications, Inc.1996DOI: 10.1177/095715589600701902 Andy Stafford FCS, vii (1996), 033-048 Printed in England 'Etre conteste', wrote Victor Hugo in 1869, 'c'est 6tre constate.' In 1955, it was this (then) little-known quote from Hugo which Roland Barthes used in Theatre populaire to proclaim a victory for the French popular theatre movement.' The January 1955 edition of this radical popular theatre journal had been given over, almost exclusively, to the theatre of Bertolt Brecht, and had provoked drama critics to accuse Theatre populaire of dogmatism and even of a certain 'messianisme' towards Brecht and his theories.' This adverse criticism of the journal was the basis of Barthes's citing Hugo. It was Barthes's editorial in January 1955 which, proclaiming 'la revolution brechtienne', had begun the defence and promotion of Brecht's theories, and it was Barthes in particular who was subsequently attacked and held up to ridicule. As Daniel Mortier has pointed out, it would be difficult not to consider Eug6ne Ionesco's 1956 play, L'Impromptu de 1'Alma, as a humorous criticism not only of Brechtian theatre, but also of Barthes in particular.' The three characters Bartholomeus I, II and III, all