Authors

Discussion

The use of documents in contemporary theatre has been a strong trend almost everywhere in the world since the mid-1990s. It became established in Russia in the early 2000s in the work of a number of small independent companies, the most emblematic of which is undoubtedly Teatr.doc in Moscow. Among the multitude of documents used in this type of performance, in Russia as elsewhere in the world, testimonies occupy a particularly important place. Using Russian documentary shows as a starting point, I will be looking at the consequences of the dramatisation of reality on the work of the actor/actress: what changes when he / she has to play not a fictional character, but a real person? And to what extent has the arrival of reality on the theatre stage overturned theatrical hierarchies, in particular by blurring the boundaries between the actor, the playwright and the director?