Je(ux) de voix : le théâtre de Martin Crimp

Abstract

Precisely when the In-Yer-Face Theatre advocates frontality and opsis, Martin Crimp, along with a number of other contemporary British dramatists, gives precedence to voice. A meta-body, the voice is, according to Crimp, the place of the subject. Yet paradoxically, only the off-centered voice, the other’s voice, seems to be apt to speak out the self, as if selfhood could only be grasped through exteriority. This paradox is nowhere as clear as in George Benjamin’s opera, Into the Little Hill (2006), for which Crimp has written the libretto.