This article proposes a comparative reading of the role of theatre in the cinema of Jacques Rivette, as seen through the lens of Denis Diderot’s work, looking specifically at the 1984 film L’Amour par terre and the 1757 ‘novel’ Le Fils naturel. The eighteenth-century philosopher interrogates the specificity of theatre — its theatricality — in the context of a hybrid work that seeks to overcome the lack of live spectacle in the printed text by imbricating the dramatic play within a narrative about the ‘real’ lives of characters, in order to illustrate his ideas on the renewal of theatrical art. In turn, Rivette’s cinematic practice poses parallel questions, probing the border between film, condemned to repeat itself, and the theatre (Rivette’s subject of predilection), whose infinite potential for variation comprises its generic signature. In the work of both artists, acting exercises an important influence on the temporality of the narrative, the status of truth, the relationship to images, and the moral value of art. In this way, Rivette and Diderot illustrate the challenges presented by a theatricality at once rejected and embraced by modernity, revealing performance as a crucial tool for exploring the limits of representation.

中文翻译：

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代表作：狄德罗（Ridette revu par Diderot）

本文旨在通过丹尼斯·狄德罗（Denis Diderot）的作品，从1984年的电影《爱梦》和1757年的《小说》Le Fils naturel的镜头中，对雅克·里维特电影院中剧院的作用进行比较解读。。18世纪的哲学家在一部杂种作品的背景下审视戏剧的特殊性（戏剧性），该杂种作品试图通过将戏剧性戏剧融入有关人物“真实”生活的叙事中来克服印刷文本中缺乏现场表演的现象。 ，以说明他对戏剧艺术更新的想法。反过来，里维特的电影实践也提出了平行的问题，探究了被谴责重演的电影与剧院（里维特的偏爱主题）之间的边界，后者的无限变化潜力包括其通用特征。在两位艺术家的作品中，表演对叙事的时间性，真理的地位，与图像的关系以及艺术的道德价值都有重要影响。这样，