Résumé

 This research explores theatrical and cinematic staging as an epistemological framework for engaging with reality, particularly within immigrant communities. By weaving together aesthetic, philosophical, and sociopolitical perspectives, it proposes that both art forms function not merely as representational systems but as mechanisms of transformation. The first chapter examines the power of the cinematic image to generate multiplicity of meanings, arguing that montage is not a neutral structuring device but an ontological operation that reconfigures the real. The second chapter interrogates cinematic temporality, challenging conventional notions of film as a static record of the past. Instead, it posits that cinema perpetually re-presents time, situating the spectator in an ever-unfolding present where the boundaries between perception, memory, and experience are continually renegotiated. Ultimately, this study contends that both theater and cinema do not merely depict reality but actively reshape it, allowing for a heightened awareness of its contingency. By approaching staging as a method of inquiry rather than a mere artistic practice, this work positions the performative act as a site of resistance, revelation, and re-signification, demonstrating that the aesthetic is inseparable from the ontological and the political.