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Le théâtre est le lieu d’un rapport privilégié au corps, dans la co-présence du corps de l’acteur et du corps du spectateur au moment de la représentation théâtrale. Il est l’arène privilégiée où s’observe l’impact des bouleversements qui ont modifié les codes de la représentation au cours du vingtième siècle. Le théâtre anglais contemporain attire les regards sur le spectacle d’un corps souffrant, exhibé, violenté (théâtre In-yer-face, théâtre de la Catastrophe) et dans le même temps propose la représentation d’un corps spectral dans un théâtre influencé par Beckett. Ces deux tendances – corps spectacle et corps spectral – sont les signes visibles d’une crise de la représentation du corps et de la déconstruction du sujet. Les auteurs que nous avons choisis pour cette étude (Edward Bond, Howard Barker, Martin Crimp et Sarah Kane) se sont imposés comme les figures de proue d’un théâtre non-naturaliste, poétique et subversif, qui font du corps le pilier de leurs esthétiques. Notre étude se présente comme une anatomie du « corps esthétique » (Roland Barthes) dans une perspective comparatiste des dramaturgies abordées. Elle explore le rôle du corps dans tous les domaines de la représentation : Comment le texte construit-il le corps ? Comment le corps envahit-il le texte ? Quelles sont les stratégies mises en œuvre pour représenter le corps dans le passage de la page au plateau ? Quelle est la place du corps de l’acteur ? du corps du spectateur ? Parce que « le » corps n’existe pas, les théâtres du corps en jeu ne cessent d’affirmer le potentiel illimité du corps en exposant la labilité du corps du personnage, de l’acteur et du spectateur. / The theatre is a privileged site to understand the body, because of the copresence of the body of the actor and that of the spectator during the representation. It is the privileged arena where we can observe the consequences of the upheavals that changed the conventions in representation in the course of the twentieth century. English contemporary theatre attracts our attention both to the spectacle of a suffering body, which is also exposed and violated (In-yer-face theatre, the theatre of Catastrophe) and that of a spectral body, in a theatre influenced by Beckett. These two trends – the body as spectacle and the spectral body – are the visible signs of a crisis in the representation of the body and the deconstruction of the subject. The authors chosen for this study (Edward Bond, Howard Barker, Martin Crimp and Sarah Kane) are the figureheads of a non-naturalistic, poetic and subversive theatre. The body is at the core of their aesthetics. Our contention is to develop an anatomy of the “aesthetic body” (Roland Barthes) with a comparative approach of the works, and to investigate the role of the body in all the different fields of representation: How does the text create a body? How does the body invade the text? What are the strategies at stake to represent the body in the translation from page to stage? How is the body of the actor used? How is the spectator’s body affected? Because it seems there is no such thing as “the” body, the theatres of the “body-at-play” try to reassess the limitless potential of the body, to deliver it from all constraints, and to expose the lability of the character’s body, as well as the actor’s and the spectator’s.

This thesis analyzes the relationship between the capitalist system and the individual in Edward Bond&rsquo / s plays, Saved, Lear, Red, Black and Ignorant and The Tin Can People. Bond argues that the capitalist system is irrational and cruel since it violates the individual&rsquo / s inherent right to freedom, to dignity and to the pursuit of happiness. The capitalist system in Bond&rsquo / s mind shares some certain features with Karl Marx&rsquo / s analysis of the capitalists system. These features are the class conflict, inequality and inhumanity. The study aims to detect these features in the aforesaid four plays. Also, the study focuses on the function of social institutions in the plays. According to Edward Bond, social institutions in the capitalist system contribute to the continuation of the system because they preserve the interests of the ruling class, and induce injustice. The capitalist system and its institutions create alienated and dehumanized individuals. Individuals&rsquo / certain existential needs are not fulfilled in the capitalist system. In Erich Fromm&rsquo / s theory, the existential needs of individuals presented in Bond&rsquo / s plays are a frame of orientation and devotion, rootedness, and effectiveness. This study will show that these needs are denied within the given systems. As a result, Bondian characters develop some defensive strategies in order to be able to survive / they turn to violence, comply with the system or revolt against the system.