Abstract: This article examines the question of updating Marivaux’s Slave Island through two recent productions of the play by Gaële Boghossian and Jacques Vincey. It examines the intention and modalities of actualisation as well as the effects of the latter on the meaning of the play. Beyond that, it questions the play’s capacity to open up to new meanings as well as the permanence of dramaturgy as a mediator between classical texts and contemporary audiences.
