Abstract:Histoire d’amour (repérages), the first piece of a diptych, the second part of which is called Histoire d’amour (derniers chapitres), indicates the presence of the Durassian intertext in the Lagarcian theater of the 1980s. This presence in the minor mode of moderato cantabile, discreet and restrained, is the topic of this article, which elucidates, besides the elective affinities of the two authors, the stakes of memory and literary filiation on the thematic and aesthetic plane.
