Abstract

How are we to understand the idea of a « political theatre », an idea which can be traced back to Erwin Piscator, the communist stage-director? How indeed, now that the very meaning of « the political » appears to have undergone a sea-change, so that it encompasses a series of heterogeneous practices and modalities, and when the event of October 1917 no longer suffices to signpost the perspectives of struggle? Such a question assumes a particular resonance in the theatre of Alain Badiou. Badiou’s political and philosophical engagement stands out from any ordinary, routine grammar of political or revolutionary discourse. His theatre bears the implicit traces of this rupture with the ordinary expectations of the political and the revolutionary. Badiou’s play, Ahmed le subtil, thus appears to enact a singular gesture, offering as it does the example of a militant theatre bound by its pledged fidelity to the emancipatory event (such as the 1984 labour strike in the Talbot factory). This fidelity resists any thematic capture on the part of the « capitalist-parliamentary » regime, while also exceeding the frame of an explicitly militant theatre.