The theatricality of death at both Flemish artists Michel de Ghelderode and Jan Fabre is based on acorpus of texts. Divided into three constituent fields of theater - literature, dramaturgy, aesthetic -the objective of my research is focused on a dialogue between a dramatic and a post-dramatic art, inorder to confront or confuse some theatrical elements of both fields through theatricality death. Theliterary part explores the linguistics of the authors texts, from the title of their works to their genres,including the micro and macrostructures, showing that the literature of death is as well in the shapeas in the motives of the writing. The carnavalesc reversals particular to the writers' plays in spite oftheir fundamental differences is found in the dramaturgy field. It focuses on characters, spaces andtimes of death by highlighting what is dramatic play and performative play. The concept of doublein the aesthetics part, is observed through the body and the creative process of the poets; the mirorof the painting on theater is a constant in these works. Finally the double is opposed to the universalthat the christik figure represents, carrier the grotesc by the resurrection. If there are gaps betweenthe various forms of artistic expressions, for Jan Fabre there is continuance between a visuallanguage and a textual language, such continuity between life and death. ; La théâtralité de la mort chez les deux artistes flamands Michel de Ghelderode et Jan Fabre est basée sur un corpus de textes. Découpée en trois domaines constitutifs du théâtre - littérature, dramaturgie, esthétique - l'objectif de ma recherche est centré sur un dialogue entre un art dramatique et un art postdramatique, de façon à confronter ou confondre certains éléments des deux champs théâtraux à travers la théâtralité de la mort. Le domaine littéraire explore le discours des deux auteurs, depuis le titre de leurs oeuvres jusqu'à leurs genres, en passant par les micro et les macrostructures du texte, montrant que la littérature de la mort se ...