On May 15, 1968, a crowd of students and artists stormed the Parisian Theatre Odéon. It was 11 pm and the audience of that night’s performance had just left the theatre. The students poured into the building, informing the director Jean-Louis Barrault, a theatre legend and friend of Artaud’s, that from now on his institution was occupied as it represented an elitist and bourgeois idea of culture and would have to be turned into a centre of revolution. For one month, the Odéon theatre would become a focus for the students’ revolt. There was no theatrical action anymore, not even alternative forms of theatre, as the theatre was entirely transformed into a place for political action. Political action in form of speech: the Odéon turned into a forum, an agora. It became a public space in which the fourth wall between “actors” and “spectators” was torn down. Instead, everybody was allowed to speak freely. “Non-stop”, as Barrault noted, “7 x 24 = 168 hours a week”.1 And in a communiqué issued by the Comité d’action


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