Chiens constructs scenography not as a set or a backdrop meant to represent events, but as the primary dramaturgical engine that lays bare the institutional chronology of justice and the regime of violence embedded in the pornographic gaze. Like Lack, it privileges a logic of matter in dissolution rather than a controllable end; the stage becomes a dispositif that, instead of serving the fictional ideology that legitimises the real, disrupts it and throws it into crisis. Here, the carriers allow traces and sediments of heterogeneous temporalities to surface within the present of the stage; testimony is organised less through the visibility ofaction than through the carrier’s material memory.

 

This is why the arrangement of the “Rappel des faits” does not unfold onstage as a linear narrative: within an installation in which scenographic strata are interwoven, the flow fractures, loops back, and the temporality of violence, the duration of sexual violence projected in the background, infiltrates the present, shifting the audience from the position of spectator toward a space of testimony.