The fact that the theatre is inconceivable in the absence of a stage actor, it’s an indisputable reality till the fifties’ theatre. Responsible of the incarnation of the character, the comedian’s body was sometimes a simple support of the dramatic speech, of the theatrical voice, sometimes place of exhibition or, on the contrary, concealing the flesh. More or less faithful to the stage directions, imitating reality (naturalist drama ) or, on the contrary, stripped of reality to acquire the attributes of a puppet (in the setting of the symbolist stage), the body has always been an area of spectacular work in connection with the one concerning the way of stage speaking.
In what concerns the tendency of the new theatre in self-reflexivity, the body becomes the space of the theatrical experiment, of the happening and the questioning of the traditional concept of character, reflecting on his performing double.
Gleaning all over the spectacular field of the tools of a generous «ludant», Tardieu invites us to build ourselves a «ludé» as a metatheatrical speech. He gives us to see the various hypostases of the imaginary body from the figure of the crucified, a sort of body-relay (L’épouvantail), following the evolution on stage of the material body (La galerie), those of Lui and Elle, bodies dedicated to the love that the spectacular choreography makes scenically (Les amants du métro), of the suffering body (La consultation, La mort et le médecin), to the absent body but just as much incentive for the imagination of the spectator (La serrure), etc.