ABSTRACT
This article proposes a selective path through the process of recreation of two spectacles by Jan Fabre: This is theatre like it was to be expected and foreseen (1982) and The power of theatrical madness (1984). The author - who followed closely the work of the company from April to July 2012 - focuses on the small differences between the two versions of the works, analysing the modalities and reasons of the changes. The dissertation examines the work of the director and the performers, at the same time as it questions the notions of theatrical genetics and reenactment.
Keywords:
Jan Fabre; Theatrical Genetics; Reenactment; Rehearsals; Postdramatic Theatre