| Summary: | This article analyses the stagings of Le Bal, written by Némirovsky between one chapter and the next of David Golder, with which it has a number of points in common, starting with the depiction of a Jewish family. As the title suggests, everything revolves around the ball that should have consecrated the family's aspirations, but instead precipitates its social defeat. This is a text in which the potential theatricality of Némirovsky's texts is particularly evident, as evidenced by the presence of certain theatrical effects, such as phrases that take the place of stage directions. After a brief observation of Lemoine's staging in 2013, in which comico-grotesque aspects predominate, the article turns to Bergamasco's staging in 2015, in which the emphasis is on the violence of feelings and mother-daughter rivalry.
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