Olivier Py confronts Shakespeare in translation he himself signed. And gives the history and legacy of dispossession a very contemporary symbolism. A view on France 2 and live Culturebox the main courtyard of the Palace of the Popes, the Avignon festival, from 10:35 p.m..
If s is hitherto rarely attacked the Elizabethan, the boss of Avignon Olivier Py mounts King Lear in the courtyard of the Papal Palace for that: to show that the best theaters announcement and understanding ahead of our time. Cancels the same time, like the theory of relativity of Einstein. Did he not put the past in the future at the discretion of an eternal present? The wicked pile of skeletons that suddenly sweeps the moor where the deposed king wanders evokes – one imagines – the Holocaust, and all the excesses which led the emotional whims – incestuous? – Lear to his three daughters. A policy that no longer knows what it should be done brings all disasters.
On the blond wooden tray where stretches a graffiti covered wall, where a motorcycle and roar his helmeted motorcyclist such devil, where the two eldest – Regan (Celine Chéenne) and Goneril (Amira Casar) – engage in erotic and fevered lovemaking (? us to better serve the modernity of the text), the play opens in the radical stylization. Lear (Philippe Girard) it made up his mind to renounce the disadvantages of the throne – administration and business management – to enjoy the pleasures that it offers, so capriciously distributing his kingdom to those of its rejetonnes declare that love him best. After he was seen dancing in spikes and white tutu, accompanied by a grand piano, the Cordelia ballerina, though the preferred and most loving, mysteriously fell silent. This is the enigma of the room. Should we see a sign that there is nothing more to say already nothing more to do in this crazy world that even the sovereign waives lead? Does it mean that the word is no guarantee of truth, that everything is a lie and illusion. And what better to keep quiet. It has become the only way to resist. Funny way to the theater … Beckett and Ionesco ahead. Written in white neon lights, the phrase “Your silence is a war machine” is inlaid on the façade of the palace of the popes.
On paper, the interpretation of Olivier Py is brilliant. His announcement Shakespeare all doubts contemporary philosophers and linguists, to language, to history. A mobile, which is registered “Nothing” in white neon wanders on stage, pushed by the actors … and the rapid staging, dry, without the game psychology, crude and brutal, willingly outrageous, even vulgar, like to make the show a haunting and heartbreaking demonstration. But between schoolboy jokes, rhymes, clownish illusions (the dead are engulfed in a kind of hole in quicksand) and pure tragedy, the play still struggling to incarnate on the tray. And thunderous sound effects, falsely spectacular scenery (the red ribbons that fall poorly hangers) reinforce the lack of radical humanity.
Obviously Olivier Py wanted to play that too, dehumanization, the horror. It is further necessary unparalleled actors. But they are hardly in tune … It is often the choice of the pricipal actor that determines the orientation of the stage. Against the classical tradition of a Lear hoary determined to finish and to divest all, English Peter Brook was the first to choose a young king (Paul Scofield), decided to enjoy everything, even his good pleasure . So really hateful towards her daughters with whom he comes sow drinking, disorder and discord. Chilling, icy, ominous, Philippe Girard bet here on the abstraction of the character and voluntarily gives off little emotions. Pity. Only John Damien Barbin, a crazy white woolen bobble hat, as always surreal and cleaner. In a perfect score of this mournful ceremony and crazy. We hope to become, in metamorphoses, as this old world that denounces endless …
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