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Avignon - Gros Plan

1962


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1962 - Critique sortie Avignon / 2010


1962, ou « une autre voix que celle du drame » dit Mohamed Kacimi, enfant de l’indépendance. Il a le talent pour faire entendre cette voix avec les mots qu’il faut : des mots clairs, évocateurs de tout un monde perdu que l’on refuse de laisser filer, d’un monde à venir qui effraie et que l’on ne comprend plus, des mots révélateurs du passé autant que du présent, centrés sur les destinées humaines, les espoirs, les colères, et les regrets. 1962 ou l’année des rêves et des désillusions, avec pour les enfants d’alors l’idée d’indépendance comme celle d’une fête émerveillée. « Etroites sont nos âmes, immense l’étendue du désastre. » Nadia et Gharib se retrouvent dans le port de Marseille, ils se souviennent de leur enfance heureuse dans un village des hauts plateaux, de leur soif d’amour et de liberté.

Dénonciation et chant poétique 

Gharib vit à Marseille et Nadia repart pour son pays. En fond de scène de grandes photographies, des portraits ancrés dans le réel et le temps. Et devant, accompagnés du musicien Rachid Guerbas, ces deux âmes solitaires (Valérie Grail et Miloud Khetib) partagent leurs souvenirs, leurs émotions et leurs doutes. « Tu seras seule dans une forêt de moustaches et de barbes », lui dit-il, effaré devant les interdictions qui polluent la société tout entière. Ils se rappellent aussi les leçons de géographie de l’instituteur : « La Méditerranée traverse la France comme la Seine traverse Paris ». A la fois dénonciation et chant poétique, célébration du rêve et constat de l’amertume du réel, cette pièce de la compagnie Italique explore finement, avec une grande sensibilité, un épisode historique au croisement des histoires d’Algérie et de France, « au cœur de l’utopie et de la blessure ».

Agnès Santi   

Avignon Off. 1962 de Mohamed Kacimi, mise en scène Valérie Grail, du 8 au 31 juillet à 14h20, relâche le 15 au Théâtre des Lucioles, 10 rue des Remparts St-Lazare. Tél : 04 90 14 05 51.

A propos de l'événement



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A lire aussi sur La Terrasse


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    - Critique

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    - Critique

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