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Théâtre - Critique
Quartett
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« Un salon d’avant la Révolution française. Un bunker d’après la troisième Guerre mondiale. » : énigmatique à souhait, l’indication temporelle initiale du texte de Müller est suggérée et d’emblée adaptée par la scénographie dédoublée qui sert de cadre à la mise en scène de Fargass Assandé. A jardin, un salon en peaux et cornes d’apparat, à cour un éclairage ingénieux dessinant les barreaux de ce qui peut être la prison intérieure de la perversion amoureuse ou le bunker psychotique de ses jeux scandaleux. Entre les deux éléments de décor, Merteuil et Valmont, cyniques, féroces, se déchirent et s’entredévorent en jouant tour à tour leurs propres rôles et ceux de leurs victimes. Fargass Assandé a choisi, autre bonne idée, de confier les deux rôles à quatre comédiens (Odile Sankara, Mbile Yaya Bitang, Ibrahim Malangoni et lui-même), mettant ainsi en évidence l’aspect théâtral, fantasmatique et quasi fantasmagorique du jeu de mort qu’inventent les deux vieux libertins à la duplicité scabreuse.
Une sophistication émolliente
A force de sophistication cependant, les répétitions, redondances, effets de miroir et inversions des rôles finissent par faire perdre le fil de la cohérence psychologique des personnages. D’autant que le jeu devient outré dans l’efféminé ou le brutal quand Valmont et Merteuil incarnent Volanges et la Présidente de Tourvel et s’amusent à répéter leurs supplices. Si Odile Sankara parvient assez bien à investir son rôle et à donner une intensité hiératique à ses silences d’observation et de jouissance, les quatre autres comédiens peinent à tenir la gageure de la puissance dévastatrice mais aussi de la complexité tout en paradoxes des personnages inventés par Müller. Petit à petit, les deux parties de la scène s’autonomisent, frustration et rationalité à jardin, pulsions et instinct de mort à cour, sans que le lien ne passe entre des comédiens dont les jeux se heurtent au lieu de se relayer. A force de répugner à faire simple, Fargass Assandé finit par affadir les amants terrifiants dont la complexité semble résister à la déconstruction.
Catherine Robert
Quartett, de Heiner Müller ; mise en scène de Fargass Assandé. Le 13 mai 2009 au Théâtre de Cahors. Du 1er au 3 octobre à Limoges dans le cadre des 26e Francophonies en Limousin. Spectacle vu à la Comédie de Caen (Théâtre des Cordes, du 20 avril au 7 mai).
A propos de l'événement
Région / Caen
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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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