Abstract: Theatrical art in France has scarcely changed for forty years, but today it is possible to see that, if the work of Valère Novarina is audacious and revolutionary, it is because it goes against the tastes of the soixante-huitarde bourgeoisie. His work reaffirms certain essential postulates of European culture: theatre is a sacred space; its primary medium is language; and the latter only attains its reality by being embodied.
