"Everyone else is the passion that deploys the troops by Benjamin Lazar in the tragic love of Pyramus and Thisbe, Theophile de Viau (1590-1626). Here This is not the decor is authentic, but the language and light. Benjamin Lazar indeed eager to speak the poetry of Theophile de Viau pronouncing diphthongs and final, as in 1623, when the piece was created. past the picturesque effect is the very flesh of the language that installs a sudden unexpected space, the sound is set design, the voice that dominates the body and gives them dimension. And in the candlelight of this time, we are transported by the stamps of young actors transfigured by the verb (Benjamin Lazar in person and the divine Louise Moaty). It's magic. Especially as Theophile de Viau takes Ovid's sublime story of thwarted love that also inspired Shakespeare's Romeo and Juliet, and it still makes an insolent perfume of rebellion among the lovers decided to suicide to defend their passion prohibited. The very libertine poet was not he himself imprisoned for his writings and ideas? Through its "reconstitution" voice of the era, Benjamin Lazar not transferring him to any laziness. He seeks to capture the spirit. As if the singing voices awoke the essence of the text. He succeeded. "
TELERAMA, June 5, 2010
" Through a slit in the wall, our two lovers they fled in haste to escape their families, lustful king and his henchmen criminals. One can imagine in a dream the pale stone wall, covered with leaves in the dark moon and the deep forest, inhabited by wild beasts which Pyramus and Tisbe were given appointments. It's the magic of the text of Theophile de Viau (1590-1626) - eldest of our three glories, Corneille, Racine and Molière, which flowered into poetry suggests furious love in a mythical world, familiarly the gods of Olympus. It is also the magic of the staging of Benjamin Lazar, gifted playwright, who, sober effects, recreates a world of precious and enchanted at the Athenaeum Theatre.
For on the scene, there's nothing else that night and the flames of the cosmos: no painted canvas, golden lions. But an empty space, inhabited only by candles lined up on the ramp and doors, set doors or windows empty. A single chandelier, sort of the Calder mobile, descends when the king appears. And shards of material suspended from son flicker like distant stars in the final scene. Spirits of the forest, two figures dressed in black manipulate these trees waxes, which illuminate the heroes, their faces powdered, their black suit and gold. "The tragic love story of Pyramus and Thisbe," inspired "Metamorphoses" of Ovid (as "Romeo and Juliet" and "Dream of a Summer Night") will play in a black hole of time. It's a rare moment of grace that is offered alien to the viewer.
Benjamin Lazar, thirty-three years, grown for several years now happily fiber Baroque in theater and opera (his first "victory" was the "Bourgeois Gentleman ", created in 2004). "The tragic love of Pyramus and Tisbe" mark a return to pure theater. Except that in the baroque tradition, the theater remains close to the dance (for sophisticated gestures) and song (for his amazing phrasing). The rappers and slammers basically invented nothing. A timeless couple
Initially, the unsuspecting public is necessarily confused: the actors declaim with a funny accent (mid-Quebecois, half-Burgundy) by rolling the 'r' and towards the end of the vote in all consonants (the heavens become cieusses, love "aimerrre). Of suddenly the old "Francois" becomes a new language ... Benjamin Lazar creates a "theater of cruelty" XVII style where everything - light, wigs, makeup, costumes, voice and gestures ... to transport us somewhere else sorcerer.
Especially it is an excellent actor, Benjamin. Pyramus solar, it drives the whole company in a virtuoso playing, codified, but very vibrant and current. Louise Moaty (Thisbe), he formed a couple of young lovers timeless. He does not forget to punctuate the tragic love lightning comical: Nicolas Vial in foppish king lion and cruel smile, as Julien Cigana, soul damned irresistible rogue philosopher. The actor-director succeeds perfectly the bravura of the dead lovers, who curiously closes the piece in two monologues rivers. The forest is mysterious, hostile and marble tomb ... In two short hours unreal, Benjamin has returned all the poetry and the insolence of Theophilus, magnifying the absolute love and jealous, criticizing the old, suffocating reason with words in the passion. "
Les Echos, May 31, 2010
Julien Cigana and Alexandra Rübner photo, repetitions (Christopher Naillet)
0 comments:
Post a Comment