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Un Fauteuil Pour l'Orchestre – The site of the critical theaters in Paris »Bernard Pomerance's Elephant Man, David Bobée's Scene to the Folies Berges



Aff l'affiche, Critiques //
      Elephant Man, by Bernard Pomerance, on the Scene by David Bobée, aux Folies Bergères

Sep 30, 2019 |
Commentaires fermés on Elephant Man, by Bernard Pomerance, on screen by David Bobée, aux Folies Bergères

© Arnaud Bertereau

ƒƒƒ article de Denis Sanglard

Coupons court à la polémique. Nonetheless, David Bobée has been involved in a "coup d'état" involving two sacrosanct monsters, two clivant artists, Béatrice Dalle and JoeyStarr on projects, including a suite of vraie and belle ruse, Elephant Man. More for their talent, talent, and passion for engaging profits, chances are they are going to benefit societies by responding to nouveau sonne. These two are exhilarated, their singularly churlish, their auscultated, their humane conquest, racism, homophobia, sexism … all the mice qui chaque jour un peu plus gangrene nos libertés fondamentales. Grand gowns, skirts, skirts and souvenir skirts, all profoundly ethereal and just in their engagement, their exigencies, and their access to and service of their art, sublimated by light. Oours, those chagrins that are concentrated in the rotor and are now decoupled from two actors in the service of a project, with only a group of merveilleux freaks, such as David Bobée, who do not have the courage to cover more than integrate without bargaining in a collectible that is attached to a jewel, such as a portable hinge, reflection of a fouterque, not violence. The principal personage is at the top, at the bottom, but also with Christophe Grégoire, the doctor Frederic Tréves, confronted by John Merrick on all such contradictions. Ux eux trois, but not after the assembly of the troupe, such as in a bouleversante cruise qui vous emboigne et ne lous plus près de trois durable.

John Merrick's Histoire de l'Homme-Elephant, a corps exhibited as a living animal, and deciphered by the physician Frédéric Treves. Racheté à son bourreau, Tom Norman, surgeon, install John Merick at London Hospital for medically needed surgery. The clients have an evolving relationship, an extravagant experience. Only John Merrick's calvary, devoid of scienti c c curiosity, does not fare as recommencer, a complement to a champ de foire in a medical prison. Seite l'amitié et bient professiont l'amour – de Madame Kendall, actress of the profession, officiating by John Merrick's exprimer sans fard et de recevoir cette humanité qui refui obstinément. David Bobée remembers the original text of Bernard Pomerance, without denying the role of the deceased, approving of the role of Madame Kendall, the author of the idea, one more person, Jack the inventor …

David Bobée's adaptation rejoins all those preoccupations with the English language. Both are enriched with this courtoisie, so sourire qui jamais ne le quitte. This piece parle d'aujourd'hui, not société du parétre, société spectacle et regne supposée norm excluding difference toujours deoncée. This is the value of the individual being measured not to have moral or intellectual excellence, but to be utilitarian rather than socially capable. This is the prime image on the relay of the individual value. This fable, as the metering of the soul on the screen, is a political metaphor of the class action, the intrinsic and legitimate violence, the domination process in the mind, the consideration of the other, fabrique du monstre. Is this a valid monsters in this fable?

John Merrik, objet de tous les regards, is the loser of the intimate and social, political, political. It is like a fall performance and a sculpture by Jack L'Eventreur, the reflection of the notoriously monstrous prophet, the portrait of Dorian Gray in chacun de nous. Victims and reflections of class proxies, non-profits, racist notions. They also devise this humanity that does not work, deriving from the monstruosité physique of John Merrik, not falling into pensions, but not preyjugés. John Merrick's notre propre laideur et inhumanité. What a treasure trove, devoted to son touring the bourreau and winning all those prizes.

Directed plus by David Bobée, JoeyStarr is all about immense complementarity. This brutal presence is immovable, as it is a monstrous humanity. No maquillage, no luggage, no massive corps, no captive presence. Here you are, fascinating and profoundurious. Any quirk on the plateau, no quill, no quill, and no longer evolved after the performance. C'est fall au-delà. D'origine Antillaise, infantile, the racism is present in the histoire. Le regard qui exclue il connaît. Without this continuous expanse, the substrate, progeny, is propulsed on the plateau, in which the histoire is parallel to the colonialisme, to the clavicle. Their sonic propensity for donating the token is like a filament and a person who has a realistic tangible character. David Bobée symbolizes the exterior, in a cache, without cache, exploited by the media, such clocks, a high profile and tenor cache, a fragment which is not to be demoed, and without dramatic transcendence et troublante. There are minimalist quotes, concentrate on the extras, this absolute verity, the horses' norms, bouleverse et bouscule nos préventions. The faut l'observer aussi quand il se tait, this apprenticeship, this outer envelope, this prese pleine et entière, all that is available at leucons de jeu. Difficulty with sonic abstraction with Beatrice Dalle, other monsters. They also have intimate histoire fonts, intuition and rebuttal, a sense of complimentary desirability, mutual respect and fascination, a unique composition of fleeting emotion. David Bobée is a quintessential male, with his approbation, both of whom have been reported to John Merrick and Madame Kendall as a force to be reckoned with, a reality and the same, au-delà, a mystery. Just for fairness, cruelty and malice, quilts against Romeo and Juliet… It is almost like a hobby, it is a distance, it oscillates between a factual reality and a fictional one. ci. Et cha marche parce Béatrice Dalle et JoeyStarr do not have to wait for a service to enter their personnage. The composition of Béatrice Dalle is accompanied by antipodes that are present. Are the quotes that are supposed to have a retrospective impulse to quit, other monsters, Lucrèce Borgia? There is no such thing as a désarmante et toujours this altière présence, this force qui désarme. D'une grande douceur aussi et semblant etre revenue de tout. This particular intonation, which is outermost, is ultimately justified by the expression of an intimate boulevard, of a verifiable emotion, of Kendall's madness devoid of this revelation, of the other being exhibited, revelatory passions humaines – elle est actrice – all about the destiny of John Merrick … Et JoeyStarr. La belle et la be united by one and the same, confronting both the souffrances and the victories of the préjugés. Lesquels not ported by Tréves, Christophe Grégoire, do not have the composition to be used. This is what assisted the most effective way of detaining an individual prisoner in the prisons of his son, milieu and deviant John Merrick, in the conscience of others, the verifiable monsters… Christophe Grégoire compose them with talent The complex persona that vacillated and fined by the devil made this a veritable, yet unrecognizable, fact that John Merrick's death was brutally reversed. The duo formed with Joey Starr transported the souvenir traces to a great deal of complexity and fate as well as the descent. The series is essentially debatable by Luc Bruyère's parody, Magnetic, in the direction of Jack L'Eventreur, partitioned to the original text. Magnetique donc, a folk elegance, dandy du crime, echo lointain d'un Lacenaire. As far as talent and talent are concerned, irradie le plateau as flameboat chez Madame Arthur, travestie sous le nom de Vénus de Millehomme. Freak, donc.

The quality of the distribution of the fluid part of this fluid in the scintillation, which is sonorous, an abnormal temporal, rather than a long axon, a long agonist. In the décor, the shower room and the autopsy room – and everything falls into place to assist, an autopsy of a humanity in disguise – sordid and glacial, on the wall of a transverse longitudinal wall , John Merrick is toujours à vue, sui au regard, à la violence. Société du spectacle, toujours. David Bobée joue de la lumière et de l'obscurité. I observe the prophecy of a caucus, intervention hallucinating the dance of XiaonYi Liu, another of Chez Platel's, and of violence and violence that seem to resonate in this hall of fame, all over Paris, in the bases of London. Mais la lumière, crue, engendre elle aussie une autre violence, institutionnelle celle-là, qui voit défiler la gentry londonienne, ducs et duchesses. Enjoy the deux, David Bobée reunit, and the renovations file by file. Fluid scintillating corpses at distances not far from John Merrick's distance from the plateau, one point to the other plateau, one plus the other auspicious, the center not existing for exhibition . Just like with Kendall et al for a quintessential quirk that soudaineté tends to have plus value. Loin de faire duvet didactique, fabulous, David Bobée fait confusion à la fable su plus plus préserte, portrayed by scenography and the actresses, all the excellents, with no extra money whatsoever. There is no sign of terrible tragedy, not a tragedy contemporane.

Almost all beaucoups do not have to wait until they see the monsters, Béatrice Dalle and JoeyStarr. For three years now, this has been the case in faux ports, denounced by two of them who have just come to attend a subtitle in order to opt out of another simple exhibition, and to retrieve it from viewers. propre monstruosité. Elephants remained, in the light of these consciences, a purely popular moment, a resolute affair. Et i ran russi, éclatante.

© Arnaud Bertereau

Elephant Man by Bernard Pomerance

Adaptation by Pascal Collin and David Bobée

Mise en scène David Bobée

Scénographie Aurélie Lemaignen et David Bobée

Sophie Colleu's Assistant Scientist

Lumières Stéphane Daddy Aubert

Vidéo Wojteck Doroszuk

Jean-Noël Françoise's création musique

Stéphane Barucchi Costumes

Accessoires Christelle Lefevre

Maquillage et coiffure Audrey Borca et Florenc e Veyssières

Avec JoeyStarr, Béatrice Dalle, Christophe Grégoire, Michael Cohen, Gregory Miége, Radouan Leflahi, Clémence Ardouin, Arnaud Chéron, Papythio Matoudidi, Xiao Yi Liu, Luc Bruyère

Du 3 au 20 octobre 2019

Folies Bergères

32 rue Richer

75009 Paris

FNAC Reservations and Habituels Network

www.foliesbergere.com

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