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Théâtre - Gros Plan
Toshiki Okada
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C’est en fouillant les basses eaux du quotidien que Toshiki Okada prélève la matière de son art. Fin lecteur de Brecht et d’Oriza Hirata, son ainé compatriote, l’auteur et metteur en scène japonais taille son théâtre à même l’argot de la jeunesse tokyoïte pour y desceller le malaise d’une « génération perdue », coincée au creux des failles d’une société arc-boutée sur ses hiérarchies, ses convenances, son histoire et son paraître. D’une simplicité très travaillée, l’écriture retient sous la banalité du parler ordinaire les torsions intérieures révélées par les corps. « Je m’ennuie si les corps des acteurs se bornent à accompagner les mots qu’ils disent, expliqueToshiki Okada, qui a fondé la compagnie chelfitsch en 1997. Un corps auxiliaire – qui se contente de “tracer” la trajectoire des mots – me semblait “appauvrir” l’expression. J’ai donc demandé aux acteurs de séparer leur corps de leur discours. De générer leurs mouvements en partant de ce que j’appelle des “images” ou des “sensations”, quelque chose qui, en général, précède les mots lorsque nous parlons. »
Un « théâtre dansé » radicalement singulier
Les gestes, piochés dans le bréviaire des attitudes les plus anodines, précisément stylisés et agencés en une partition parallèle, laissent fuir l’inconscient sous le verbe et trahissent l’impact secret du discours. Ainsi dans We Are the Undamaged Others, quis’immisce dans l’appartement d’un jeune couple parfaitement normé aux cotes du bonheur. En apparence, car la conversation finit par dévoiler, dans l’entrelacs des bavardages, les profondes fissures qui menacent de rompre. Hot Pepper, Air Conditioner, and the Farewell Speech, trilogie créée en 2009, saisit la réalité intime du travail précaire au fil des discussions entre les employés intérimaires d’une entreprise. A travers ce singulier « théâtre dansé », apparaissent en biais le désarroi et les leurres d’une jeunesse au bord de la rupture, déchirée entre ses aspirations à la liberté et son inquiétude de l’avenir, entre le réel et sa fictionalisation.
Gwénola David
Hot Pepper, Air Conditioner, and the Farewell Speech, de Toshiki Okada, du 2 au 5 octobre 2010. We Are the Undamaged Others, de Toshiki Okada, du 7 au 10 octobre 2010. Dans le cadre du Festival d’Automne à Paris, au Théâtre de Gennevilliers, 41 avenue des Grésillons, 92230 Gennevilliers. Rens. 01 41 32 26 26 et www.theatre2gennevilliers.com ou 01 53 45 17 17 et www.festival-automne.com.
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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