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Théâtre - Critique

Ombres portées


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Ombres portées - Critique sortie Théâtre


Arlette Namiand traite de manière à la fois onirique et brutalement sensuelle de l’absurdité de la guerre, la mise à mort via la terreur. Est-il admis, comme le tyran arrogant et bestial, crispé sur sa victime, de faire telle prise humaine ? Toucher à l’existence est un sacrilège. Jean-Paul Wenzel éclaire métaphoriquement ce texte engagé aux consonances koltésiennes. Le spectaclesurvient après le Combat, dont on ne voit que l’angle de vue « mort », la vision furtive et voyeuriste du hors champ des coulisses qui succèdent à l’acte dramatique. Tout se passe comme si, la tragédie accomplie, ne restaient que sa résonance douloureuse et l’héroïsme de la victime. Or, si tout a eu lieu, la « comédie » continue : le vivant doit trouver pour le disparu un lieu de paix. Urgence et évidence de la démarche humaniste.
 
Une aventure intime
 
Sur son dos, un homme en soutient un autre, évanoui ou cadavre, lourd d’un poids corporel inanimé, d’une chair indifférente que la souplesse de la vie a subitement désertée. Porter dans les bras, sur le dos, traîner à ses côtés un corps humain est une aventure intime dont Thierry Thieû Niang dessine les mouvements, les enlacements, les ratés et les chutes à travers la gestuelle inventive des acteurs. La représentation est une traversée fugace de la scène que le spectateur prend de plein fouet dans un rapport bi-frontal. Si le propos dénonce le meurtre du guerrier, il est question aussi de couples heureux, tel le marié qui soulève sa mariée jusqu’à une « chambre à soi », telle la fille émue qui soutient son père malade. Auprès du coryphée, les acteurs jouent alternativement les porteurs et les portés. Un spectacle d’aujourd’hui.
 
Véronique Hotte

Ombres portées, de Arlette Namiand ; mise en scène de Jean-Paul Wenzel. Du 15 au 17 novembre 2011. La Coupole/Combs-la-Ville. Tél  : 01 60 34 53 60 Spectacle vu au Théâtre de la Tempête. Texte publié aux Solitaires Intempestifs.

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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