|
Le Théâtre des Trois Oranges
|
|
Revue de presse
东宫西宫 "East Palace, West Palace" is an interesting and courageous play in the context of current Chinese Theater (and the history of film that is behind it); there are no nude scenes but there are clear sex scenes between men and a very clear homosexual sadomasochistic choreography, the texts are clear and hard about the words and phrases used, containing much slang used by Beijing's homosexuals. I already recognize a characteristic of director Xavier Froment's actors and their performance: an apparent bodily passivity, avoiding the traditional excesses of Chinese realistic performances, the actors seem to move in a very defined choreography, having most of the time clear and specific tasks to carry on stage and thus avoiding any game of improvisation. The images on stage, another crucial point in Froment, require a great deal of preparatory work on stage and, when they become defined, their climax shows strength and an overall penetration in the viewer. I can recall that in an exchange of phrases of almost five minutes, the police officer (acted by Kang Luqi) is tying a large rope around his counterpart, but that action has no direct relation to the text, only at the end of the text, in a violent and emotional moment does the preparation make sense (you can see the images both in the video and in the photographs). The final scene takes us to the passion unleashed by the police; him, who had not accepted the game and seductive ways of the man of the bathrooms, exploits and literally rapes the man ad nauseam. Gustavo Thomas
Faire une adaptation chinoise de Ma femme s'appelle Maurice représentait un défi, mais le pari semble gagné.
"Cette pièce a été le défi que nous nous sommes lancés en faisant Ma femme s'appelle Maurice, c'est de faire une pièce grand public mais de qualité." (Xavier Froment)
Rédacteur: Liu Xinyan
Le Quotidien du Peuple, 9 janvier 2007
Le Petit Prince
“The image of the spectacle, in contrast, fluctuated between gray and colourful moments, between light and shadows; at some moments I saw mythic dreams on stage: one big elastic piece of cloth worked like that famous coat Saint-Exupéry drew for his main character, but it also was the snake's body, and worked as the sky on Earth itself. Those images are now in my memory and I think they will be there for long time.”
Gustavo Thomas
|
| Tous droits réservés |
