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In R. Murray Schafer’s Patria cycle (1966–), movement, both choreographed and improvisational—to the performance, between spaces within the performance, and within the fabrication of the performance—allows the audience to actively participate. These in-between spaces of movement are as much performance space as is the final site of the production, extending the performance beyond the confines of the theatre. Drawing on examples from The Princess of the Stars, The Enchanted Forest, and The Greatest Show, this article examines two states of in-betweenness: first, the pilgrimage to the performance, and second, the pathways that link performance experiences.Dans le cycle Patria (1966–) de R. Murray Schafer, le mouvement de la performance, aussi bien celui mis en scène qu’improvisé — qu’il soit au coeur de la performance, entre des espaces au sein de la performance ou dans le montage de celle-ci — permet à l’auditoire de participer. Ces interstices de mouvement font tout autant partie de l’espace de la performance que le site final de production, élargissant ainsi l’espace au-delà de celui du théâtre de la production. À partir d’exemples tirés de The Princess of the Stars, The Enchanted Forest et The Greatest Show, cet article étudie deux états de cet inter/valle/stice : tout d’abord le pèlerinage vers la performance, puis les chemins reliant les expériences de la performance

Pathways And Pilgrimages: The In-Between Spaces in the Patria Cycle1