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Wastiaux_34941800_2023.pdf
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- Immersed in the mysterious atmosphere of the plays by Jean Sigrid, a Belgian playwright from the second half of the twentieth century, the reader-viewer is confronted with works that carry a threatening unspoken message. Indeed, the unspoken, the driving principle of Sigrid's theatre, slips between the words and the blanks in the writing and becomes the representative of a third presence, felt everywhere and at all times but invisible at first glance. So we wonder what linguistic and scenic means Jean Sigrid uses to make his theatre the site of an aesthetic of suggestion and suspense, turning the unspoken into a permanent threat? Moreover, doesn't the unsaid tend towards the infinite repetition of plays, towards the cyclical repetition of time and space? Doesn't it tend towards the infinite loss of reference points? Jean Sigrid suggests an existence troubled by a 'moment' and evokes facts and words that he allows to take their place in the space-time of each of his pieces. However, he neither explains nor defines them. Anxiety then sets in, as the continual effect of the unspoken worries the characters and the reader-viewer, tormented by the constant presence of the threat hovering over them. In short, it is the sense of threat felt by the characters and the reader-viewer that guides their progress through the author's universe. The path the characters take is nothing more than an infinite loop of their desires, doubts and traumas. The reader-spectator is left wondering what message to take away from the author's plays, while at the same time experiencing a sense of unease that lingers after reading the works. In this way, the reader-spectator, like the characters, emerges disorientated from his or her reading and ends up losing all bearings.