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Abstract

Analysis of documentary boundaries through the study of a set of documents related to the French Theater Company Turak. We describe as artistic documents the different documents that circulate during the creation of a play. There is an initial documentary collection comprised of the documentation for the performance on which the company relies to stage the play itself. At different stages of artistic creation, the company designs documents that are useful for the pursuit of creative reflection. The theater company also develops documents aimed at promoting the play for professionals and the public. Finally, the spectators also produce many documents of the performance. How could we define the status of so different documents? Between fiction and documentary, all these artistic documents lead us to the frontiers of the documentary and imaginary regimes. The theater company also plays with the documentary codes by organizing exhibitions which combine fictional and documented narratives. It thus seems that the artistic perspective can reveal a hybrid or rather multiple document that contains a fictional dimension "a fictional document," which sets in motion an imaginary of the real. Through a mirror effect, reality arouses imagination and the imaginary brings out the real by bringing artistic lighting to the world.

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