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Théâtre - Critique
Le Pulle
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« Le Pulle »… c’est-à-dire les putains, en dialecte palermitain. Ici elles s’appellent Rosy, Sara, Ata, Moira et Stellina, qui fardent les saillies musclées d’un physique masculin sous les atours d’une féminité clinquante. Montés sur talons aiguilles, emperruqués, poudrés, pailletés, ces quatre travestis et un transsexuel donnent une folle farandole de frou-frous aguicheurs et postures provocantes, singeant jusqu’à l’hystérie la vaine parade des clichés du désir. Telles des poupées gonflées à bloc par les fantasmes frelatés d’une société stéréotypée, ils/elles jouent la comédie des sentiments, enfilant tour à tour espoirs de midinette, rêves d’amour azur et autres attentes taillées net selon les parangons traditionnels. Shows dansés, séances de maquillages, confessions, chansons et aspirations secrètes se déploient entre songes et cauchemars, sous la baguette de trois fées mécaniques chargées d’accomplir le processus de métempsychose qui arrachera ces âmes féminines de leur prison mâle pour les lover dans un corps de matrone.
Un théâtre expressionniste et grotesque
Après mPalermu, Carnezzeria et Vita mia, trilogie qui creusait les entrailles de Palerme pour éviscérer les douleurs d’une terre pétrifiée dans le passé, Emma Dante pénètre dans l’antre intime des putains pécheresses, qui célèbrent le sexe sur l’autel de leurs illusions. Elle gratte à la pointe d’une langue rude les plaies cachées sous les strass, godemichés et crucifix, là où les souffrances d’enfance sèchent silencieusement. Sertie d’une rode noire corbeau, l’auteur et metteur en scène mène rondement cette « opérette amorale », qui détourne le genre balisé de la comédie musicale, les codes du théâtre expressionniste et le folklore des dentelles sulfureuses. Le jeu, exacerbé à outrance, raille les simulacres de ces vies prostituées et tord jusqu’à la grimace le grotesque des idéaux conformistes scellés par le mariage. Et tandis que tintinnabule la mièvre mélodie du bonheur, que les cœurs s’épanchent en histoires mélo, les corps convulsifs disent l’énergie désespérée de ces êtres corsetés, en proie à la violence de mœurs fixées aux rivets de la tradition.
Gwénola David
Le Pulle, texte, chansons et mise en scène de Emma Dante, du 17 mars au 11 avril 2009, à 20h30, sauf dimanche 15h, relâche lundi et le 22 mars, au Théâtre du Rond-Point, 2 bis avenue Franklin D. Roosevelt, 75008 Paris. Rens. 01 44 95 98 21 et www.theatredurondpoint.fr . Durée : 1h50. Puis en tournée jusqu’en juin 2009. Spectacle vu au Teatro stabile Mercadante. A noter : mPalermu du 14 au 18 avril, à 20h30, au Théâtre du Rond-Point.
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
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- Critique
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- Critique
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Rendre l'art accessible au jeune public sans [...]
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