Conclusion

Abstract

A summary of the book’s main arguments leads to the conclusion that Robert Lepage’s scenographic dramaturgy is particularly effective for adapting open-ended texts such as Berlioz’s The Damnation of Faust or Stravinsky's Le Rossignol. Flexible texts enable Lepage to parallel the devised working process with which he is most comfortable. This chapter also examines how Lepage’s scenography-based adaptations challenge institutionalized norms at venues like the Metropolitan Opera and explores the ways in which scenographic dramaturgy has the potential to facilitate new theatre-making processes. New areas of enquiry are presented, including questions surrounding Lepage’s distribution of authorship credit and what the Lepage brand will mean (if anything) for the auteur’s collaborators once its namesake recedes from view.