Abstract: The account, beginning with the theatrical adaptation of L’Excès-l’usine with its prisoners in 1994, is that of a shared journey bringing actors and spectators alike into the ‘since now’ so dear to Leslie Kaplan. The political resonances of the work which are brought onto the stage vibrate in the chosen places, districts or prisons. But, with its humour and propensity for play, the œuvre also aspires to freedom.
