By Guillou L., Marin A.
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27. The interest that French artists have taken in politics has been mirrored by French art critics. As well as Nicolas Bourriaud, there have been key publications by Paul Ardenne (2000), Dominique Braque (2004), Eric Troncy (2005) and Claire Moulene (2006). 28. Whereas Ranciere would doubtless be willing to admit that Bourriaud's notion of relational aesthetics might reconfigure the world differently, he would query the prescriptive nature of Bourriaud's active model of participation where spectators are encouraged to make the work in the absence of the art object.
However, this six-month festival increased the French theatre, dance and performance to which UK audiences were exposed in terms of quantity, rather than variety. The performances (apart from some of the dance work) programmed for the season tended mainly to represent French nouveau cirque, and to exclude many of the innovative performance practices taking place in France today. Despite its great success throughout continental Europe, for example, no UK theatre booked La MeIancolie des dragons by Philippe Quesne (see Dechery, Chapter 9 in this volume).
Braque, Dominique (2004) Pour un nouvel art politique, de l'art contemporain au documentaire (Paris: Flammarion). Collier, Peter and Victoria Best (eds) (1999) Powerful Bodies: Performance in French Cultural Studies (Bern: Peter Lang). Debord, Guy (1983) Society of the Spectacle, trans. Donald Nicholson-Smith (Detroit: Black&Red). Defosse, Fran~oise (1971) 'La Nouvelle Compagnie d'Avignon', Travail Theatral, 5 (October-December), 7-14. , trans. Graham Burchell and Hugh Tomlinson (London: Verso).