Lepage’s affective economy
in Robert Lepage’s original stage productions
Abstract only
Log-in for full text

You are not authenticated to view the full text of this chapter or article.

manchesterhive requires a subscription or purchase to access the full text of books or journals - to see content that you/your institution should have access to, please log in through your library system or with your personal username and password.

If you are authenticated and think you should have access to this title, please contact your librarian.

Non-subscribers can freely search the site, view abstracts/extracts and download selected front and end matter. 

Institutions can purchase access to individual titles; please contact manchesterhive@manchester.ac.uk for pricing options.


If you have an access token for this content, you can redeem this via the link below:

Redeem token

This chapter looks at the effects of Lepage’s theatremaking techniques, engaging with broader discussions of the effects of montage on theatre and film audiences. Questions have long been asked about the political efficacy of montage: whether the intended message of a piece can be guaranteed to land with viewers; whether absorbing a message through a montage necessarily results in the spectator changing attitudes or behaviour; and about the potential of montage techniques to grow familiar. This is a particularly contentious aspect of Lepage’s work: while some scholars argue that his use of montage is knowingly critical, others argue that it is uncritical to the point of being irresponsible. Drawing on affect theory (Sarah Ahmed, Brian Massumi) and the work of Gilles Deleuze and Jacques Rancière, this chapter argues that Lepage’s productions engage spectators in characteristic ways but contain the potential for very different effects. It identifies two recurrent tendencies which have led to critiques of Lepage’s work as not sufficiently responsible for its representations: the inclusion of cultural references detached from their contexts and histories, and the use of transformational staging moments as attempts to sum up a production’s meanings. Productions discussed include The Seven Streams of the River Ota.


All Time Past Year Past 30 Days
Abstract Views 18 18 2
Full Text Views 0 0 0
PDF Downloads 0 0 0