States. Among his theatrical works are: Bobby Boom (1972), La Nauf des fous (1980 and 1988) and Il faut construire l'hacienda (2006). As a theater director, he has developed the approach of mise-en-tableaux, a method of mise en scène intended to enhance the spectators’ emotional involvement with the action presented on stage. He is a well-known expert on The Adventures of Tintin, a subject on which he has published extensively – from Les Métamorphoses et Tintin in 1984, to L’Archipel Tintin in collaboration with Benoît Peeters, to Tintin et le mythe du surenfant, to his latest work entitled Dans la peau de Tintin (2010). In this recent essay, he studies Hergé's psychology, undertaking an in-depth analysis of elements touched upon in his earlier works (Les Métamorphoses et Tintin; Tintin et le mythe du surenfant). His interest in avant-garde movements, i.e. the Situationist International and the Lettrist International, as well as in the personalities who founded them, lead to the publication of the essay Les Tombeaux de Guy Debord and the play Il faut construire l’hacienda. Apostolidès also authored multiple studies and collective editions on the avant-garde: in collaboration with Boris Donné, a biography of Ivan Chtcheglov, Ivan Chtcheglov, profil perdu; an edition of Chtcheglov texts, Écrits retrouvés; and three books of Patrick Straram – Les bouteilles se couchent, La veuve blanche et noire un peu détournée, Lettre à Guy Debord. He translated into French the manifestos of terrorist Ted Kaczynski, known as the Unabomber: Le Manifeste de 1971 (1996) and L’avenir de la société industrielle (in 2009). Apostolidès also authored an essay on the Unabomber: L’Affaire Unabomber (1996). Apostolidès considers three of his works particularly important. The first of these is his only novel to date, L’Audience, a family narrative published in 2001 and augmented in 2008. This autobiographical text is the author's most personal work because in it he shares his sufferings, incomprehensions, hopes, and loves. Through the story of one family, L’Audience covers half a century of life in provincial France. Second, Cyrano: Qui fut tout et qui ne fut rien, an essay on Edmond Rostand's play Cyrano de Bergerac, is an attempt to discover why, a hundred years after its creation, this play still fascinates so many people. Apostolidès sensed that the secret of Rostand's play was associated with the paternal figure and that the work's significance extended far beyond its literary qualities. Finally, Héroïsme et victimisation