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Camus and Barrault collaborated in 1948 to create the ill-fated L’État de siège. The two theatrical figures had already crossed paths, however, at a different time and for different reasons, thanks to Faulkner’s work and Maurice Edgar Coindreau’s translations. Barrault chose As I lay Dying for his first production in 1935, and Camus opted for Requiem pour une nonne in 1956. This study analyses archival documents and press clippings about these two works in order to provide a deeper understanding of the adaptive process and the staging solutions adopted by Camus and Barrault in their respective productions.