Abstract

This paper proposes a series of theoretical considerations on the performing styles used in contemporary theatre, according to the relationship the actor establishes with the audience. If Diderot was the first to question frontal relationship, and asked the performer to ignore the spectator, this programme will only be accomplished one hundred years later, with the emergence of the director. Later on, theoreticians such as Meyerhold, Vakhtangov or Copeau will ask for a partial return to performing facing the audience, as a sign of the return to the theatrical tradition dominated by the exigencies of the stage and not by those of the truth. With Piscator and Brecht theatre rediscovered frontality, as a sign of the wish to engage the auditorium as an active partner of dialogue. The author discusses several avatars that this new frontality acquires in presentday theatre.