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Théâtre - Critique
La ronde du carré
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Verte, partie du foyer pour trouver ailleurs l’amour et la joie, revient la misère au cœur et quémande refuge à Vert, son mari, qui lui accorde l’humiliation comme expiation. Ciel et Cielle partagent tout sauf l’extase de la chair et consultent Noir, qui étrangement dévoile l’inavouable d’une sexualité travestie. Violette confie à Violet qu’elle le trompe depuis des mois avec son meilleur ami, Gris, plus pressé de garder sa mâle amitié que de transformer son badinage en union. Enfin, Jaune et Rouge raffolent tous deux du séduisant Bleu mais le veulent chacun totalement et lui demandent de choisir l’un d’eux…. Quatre histoires et autant d’impossibles qui avancent vers leur issue fatale et se répètent infiniment. Ainsi court la folle ronde des cœurs, qui butinent à plaisir et s’abiment sur les brisants de l’autre. Dans La ronde du carré, l’auteur grec Dimitris Dimitriadis fouille au secret des liens amoureux et bande à bloc l’irrésoluble tension entre le désir, irrépressible, incoercible, et les sentiments, sans cesse rattrapés par la volonté de pouvoir et de possession.
La quadrature du cercle
Prisonniers des mêmes scènes, condamnés à l’éternel recommencement de l’échec, les personnages glissent inexorablement dans les lacis de l’écriture qui procède par boucles, accumulations, variations et digressions obsessionnelles… A force de répétitions de plus en plus elliptiques et cinglantes, le verbe se dépouille des scories bienséantes des apparences et fore sous la peau du langage pour curer la détresse solitaire et la violence inouïe d’êtres en proie à la dévoration des passions. Le metteur en scène italien Giorgio Barberio Corsetti creuse cette spirale effarante qui tournoie autour de l’innommable pour en révéler la béance. Peu à peu, les drames ordinaires du jeu érotico-affectif dénudent les pulsions dans leur vérité crue. Composée de bribes de décor quotidien, la scénographie traduit cette sarabande implacable par la métamorphose de l’espace qui ne cesse de se refermer sur les corps et vire au cauchemar. Les comédiens Anne Alvaro, Luc-Antoine Diquéro, Maud Le Grevellec, Christophe Maltot, Cécile Bournay… mêlent la farce au tragique et livrent toutes les nuances de cette subtile mécanique théâtrale, cruelle vision des chimères de l’amour, jusqu’au vertige.
Gwénola David
La ronde du carré, de Dimitris Dimitriadis, mise en scène Giorgio Barberio Corsetti. Du 14 mai au 12 juin 2010, à 20h, sauf dimanche à 15h, relâche lundi. Théâtre de l’Odéon, place de l’Odéon, 75006 Paris. Rens. : 01 44 85 40 40 et www.theatre-odeon.eu. Durée : 2h30. Texte publié aux éditions Les solitaires intempestifs.
A propos de l'événement
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A lire aussi sur La Terrasse
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- Critique
En attendant Godot : Alain Françon dirige, en grand horloger, des comédiens éblouissants
Enfermés dans le lendemain de la veille, [...]
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- Critique
Alain Françon met en scène « Le Moment psychologique » de Nicolas Doutey : une partition qui enchante
Alain Françon met en scène Le Moment [...]
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- Critique
TRAIT(s) : un cirque graphique intelligent et sensible composé par Coline Garcia
Rendre l'art accessible au jeune public sans [...]
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