Abstract

Roland Topor, as a “visceral” artist, makes an apology for the body throughout his work that we can describe as ambivalent, since he shows it in all its splendor as well as in all its miseries. Following “panic” strategies, he presents us a body that is both seductive and repulsive, relying on caustic and destabilizing humor. To illustrate this questioning about the body, we will rely on a brief analysis of
L’Hiver sous la table (1994), one of the last works published before his sudden death. Starting from an introduction about the “panic” body, we will present the chosen play as a love song, to then delve into the strategies of attraction and repulsion. This will lead us to conclude that the author, with his characteristic transgressive spirit, questions in a subversive way the limits of the body, both physical and social.