ABSTRACT
This article focuses on the genesis of the first staging of Margerite Duras's L'Amante Anglaise, by Claude Régy, a well succeeded genesis, carried out based on the interplay between dramaturgy and the stage. Without any satisfying answer, we are facing an important theoretical issue of genetic criticism applied to theatre: is the work a dramatic text or a spectacle? Depending on the stress on the first or on the second answer, the organizing axis of the genetic dossier can be the author's writing and all stagings of L'Amante Anglaise, forming a theoretically unified set; or the director's notes and all of his creations. This study explores a third possibility, stipulating the indispensable intersection between both hypotheses.
Keywords:
Genesis; Text; Scene; Theatrical Production; Unfinishedness