The 1950s marked a decisive turning point in contemporary French dramaturgy. Indeed Samuel, Beckett, Ionesco, Jean Genet, to name but a few, incorporate new theatrical writing techniques centered on the body and speech. The rules of traditional theater are put in the drawer to make way for a theater that wants to be revolutionary with the inert body, the disarticulated dialogical discourse, the drama disappears, the characters without psychology. Clearly certain theaters that disavow classical theatre. It is in this vein of Valère Novarina to revolutionize this theatrical technique while adding his personal touch. His theater but highlights the decline of the body in the face of the power of the verb. Thus, this article proposes to analyze the image of the body and language in the theater of Valère Novarina. In a theatrical universe influenced by classicism, the question here is the notion of the power of the verb on the body arises with acrimony. In an analysis chapoter by the method of Michel Vinaver we will examine these different aspects in this theater of Novarina.
Keywords: body, language, verb, speech, characters.
