The approaches and studies presented here illustrate how theatre genetics has been renewed in recent years on a European scale, leading research to an epistemological broadening of the notion of the work, understood as a work in movement. If we look at the conditions of cultural production and circulation, we realise that any dramatic or theatrical creation implies a logic of re-creation, or rather re-writing. This phenomenon presupposes various processes of appropriation and even manipulation. Added to this is the issue of dramatic transposition, or even poetic remodelling or transmodalisation, which implies the passage from one genre to another, either from the pen of the same author or through the appropriation of another's text. How can we unravel these networks of circulation of works in time and culture? At the centre of the production process, how are scene sketches, which bear witness to the artist's choices in constructing their aesthetic, decisive in renewing the researcher's approach?
The aim of this volume is to explore these questions of theatrical genetics, which are still relevant today, through a series of case studies of European theatre from the 19th to the 21st century.