Serge Rezvani and France's Théâtre Ouvert—: Clash between Dramatist and Producer

Serge Rezvani and France's Theatre Ouvert -Clash between Dramatist and Producer Le r61e du melteur en scene est de servir Ie texte et non pas de s'en servir. E. M. DONNACHIE THE RECENT OPENING of the new Beaubourg/ Pompidou Culture Centre in Paris (January 31, 1977) and the lengthy absence from the French stage of Serge Rezvani (in the world of the theatre, famous, above all, for his Capitaine Schelle, Capitaine E'i'i0) appear at first glance totally unconnected. Even the mention of Theatre Ouvert does not seem to provide an adequate common denominator, until one remembers that Lucien Altoun's enterprise was chosen to be the initial performer at France's National Culture Centre and that it was under his aegis that Rezvani agreed to appear before the Parisian public (a special festival, incorporating his songs, his latest paintings and two new plays, was held February 5-15, 1976, at the Marais Culture Centre). Theatre Ouvert and Rezvani are both important phenomena in their own rights, and a quick look at each is warranted before a longer look at their head-on collision during this festival. Theatre Ouvertl was founded at the 1971 Avignon festival by the critic Lucien Attoun2 in an attempt to prove that France possesses many dramatists worthy of revelation and presentation, and in the hope of encouraging French play writing. Attoun also directs, under the auspices of Theatre Ouvert, three highly useful theatrical collections : one of the unedited and unproduced plays of young dramatists; 67 68 E. M. DONNACHIE another of text-programmes, which are basically the working diaries of particular productions containing, in addition to the text itself, articles and comments by such people as the author, producer, actors, set and costume designers and lighting engineers; and a third of theoretical reflections by famous theatre professionals.' The productions of Theatre Ouvert are in the form of a "mise en espace," neither a simple recitation nor a true spectacle, a kind of "super reading," a presentation for the ears of plays which one day may become presentations for the eyes. No decor, no costumes or lighting, few stage directions, just the actors, producer and text, and a rehearsal-cum-work period of two weeks. It is up to the spectator to imagine any future spectacle. The "mise en espace" is always followed by a discussion session involving the producer and actors, the author (supposedly associated with the performance since the beginning), and Attoun himself. Though often beset with banality and platitude, this opportunity for each individual to express himself does bring an important complementary element to the initial work'. Pursuing its "author policy,'" Theatre Ouvert inaugurated, at the 1974 Avignon festival, an experiment entitled the "Gueuloir," in which young authors were given the opportunity of reading (or having read) in public their original and unedited works.' The 1975 Avignon festival saw yet another innovation-a "Cellule de Creation," where the public were invited to attend afternoon rehearsals of a play and then to discuss the work with the professionals. This is all strictly experimental , as no guarantees are given that the play will ever be staged.7 Theatre Ouveri so clearly fulfilled a need and had such obvious potential that government assistance was forthcoming at the beginning of 1976,' assistance that radically changed the operations, if not the concepts, of the enterprise. [n the first place, Theatre Ouvert became permanent and itinerant, with tours throughout 1976 to various provincial centres (including, of course, the Avignon festival) and abroad. Opening its spectrum still wider, a further addition was made in June, a section for lyric theatre; with the aims of making known local composers and librettists, four embryonic modern operas, illustrated by singers and tape recordings, are presented as lyrical "mises en espace." Most importantly, however, Attoun gave up his Avignon home and settled in the Marais quarter of Paris. There he established a permanent research centre, its welcoming doors open to authors, producers and players. Research, very often in the form of team-work, as at Avignon, continued on the craft of staging, play writing, distribution and advertising, etc. Each spectacle researched had the possibility of public presentation at a later stage...