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Théâtre - Critique
Opium
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Magnétiques sonorités que l’opium sitôt suggère, qui répandent les effluves de vertiges hallucinés et d’insondables délices exotiques. Fort prisée par les romantiques au 19è siècle, qui en abusèrent pour voyager au plus secret des plis du conscient et forcer les portes de l’imaginaire, cette drogue souvent aiguisa les sens et fouetta l’inspiration en quête de révolution esthétique. « L’homme gratifié de cette béatitude (…) se sent à la fois plus artiste et plus juste, plus noble, pour tout dire en un mot. » écrit Baudelaire, dans Les Paradis artificiels. « Ce qu’il y a de plus singulier dans cet état exceptionnel de l’esprit et des sens, que je puis sans exagération appeler paradisiaque, si je le compare aux lourdes ténèbres de l’existence commune et journalière, c’est qu’il n’a été créé par aucune cause bien visible et facile à définir. » Dans cet essai, publié en 1860, le poète observe les effets stupéfiants la curieuse « pommade verdâtre », notamment consommée entre amis du Club de Haschischins, brodant ses sensations sur la traduction des Confessions d’un mangeur d’opium anglais de Thomas de Quincey, parues en 1821.
Ténébreux décor
C’est dans l’entrelacs de ces extrêmes expériences et commentaires historiques que se faufile aujourd’hui Redjep Mitrovitsa. La parole enfiévrée, le comédien décrit minutieusement les douces volutes et prodigieuses visions que suscite l’opium, puis glisse lentement au tréfonds des gouffres douloureux qui torturent l’esprit et les chairs, conduisent à l’abandon de toute volonté. Surgissant de la pénombre d’un majestueux catafalque, des marionnettes évoquent les fumeries d’Indochine, l’exaltation spirituelle, ou miment le texte en représentant l’auteur en miniature animée. En dépit de la beauté plastique du dispositif, ces apparitions restent bien illustratives. La diction précieuse et le ton mystique de Redjep Mitrovitsa, qui lèche chaque mot jusqu’à faire ronronner la prose baudelairienne, finissent par s’égarer dans les lacis poétiques et perdre la morale de ces Paradis artificiels.
Gwénola David
Opium, librement inspiré de Les Paradis artificiels de Baudelaire, adaptation de Marion Bottolier et Ezéquiel Garcia-Romeu, mise en scène d’Ezéquiel Garcia-Romeu. Jusqu’au 29 octobre 2010, à 20h30, sauf mardi et jeudi à 19h30, dimanche à 16h, relâche lundi. Théâtre de la Commune, 2 rue Edouard Poisson, 93304 Aubervilliers. Tél : 01 48 33 16 16 et www.theatredelacommune.com. Durée : 50 mn.
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
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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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