LE MESSAGER QUI BÉGAIE
Par Patrice Bigel.

Not enough can be said about the pressure that is brought to bear on contemporary creative productions.You need to be very optimistic or ingenuous to launch yourself into the future even if it is only during the course of a production. Today, modern productions must take into account certain criteria which are determined by potential market demands: sure and profitable productions are preferable to risky artistic experiments. More than ever, you need to know how to "sell yourself". Everyone recognises that contemporary creative ventures are running out of steam. Is it really about an 'absence of renewal' or in fact about a general lack of interest in renewal? This profession will become fossilised by the current state of matters and lead to unbearable corporatisation. Only people within the same world meet each other, at the risk of enclosing themselves into an audience of the already-initiated. Theatrical expermients that are as diverse as they are different and contrary are necessary, because only the abundance of aesthetic forms will enduce proliferation and infuse life into cultural happenings. Theatre has to be the privileged centre for experimentation and innovation. Theatre is a living art, therefore it must disappear, and the artist must constantly be in search of a time that is yet to be reconquered. He must prove that he can put forth a forceful surge of renewal, even if he loses an acquired audience. He must not speculate with his sense of creation. In a theatrical performance, everything begins with the messenger who is the bearer of bad news, who starts by stammering, because he is weighed down by the burden of his mission. At this very instant, an unshakeable truth is revealed, in the insistence of the messenger's desire to fulfill his duty despite all else.