{"id":644,"date":"2020-04-03T03:36:03","date_gmt":"2020-04-03T01:36:03","guid":{"rendered":"http:\/\/desamorces.org\/v3\/?p=644"},"modified":"2025-12-28T22:49:44","modified_gmt":"2025-12-28T21:49:44","slug":"le-dit-de-limpetrance","status":"publish","type":"post","link":"https:\/\/desamorces.org\/index.php\/2020\/04\/03\/le-dit-de-limpetrance\/","title":{"rendered":"Le dit de l’imp\u00e9trance"},"content":{"rendered":"

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Texte Enzo Cormann, mise en sc\u00e8ne Thissa d\u2019Avila Bensalah<\/strong><\/h3>\n

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\u00ab\u00a0Faire un film pour faire un film. Etre connu pour \u00eatre connu. \u00c0 quoi se rattache encore notre n\u00e9cessit\u00e9 profonde d\u2032\u00eatre artiste aujourd\u2032hui ? Le Dit de l\u2032imp\u00e9trance<\/em> est une pi\u00e8ce qui met en sc\u00e8ne une com\u00e9dienne en situation de casting, qui s’interroge int\u00e9rieurement sur les m\u00e9andres de son m\u00e9tier et une autre jeune fille, son \u00ab\u00a0alter ego\u00a0\u00bb, qui, elle, se questionne sur le sens de sa vie. Ces deux sujets \u00e9tant amen\u00e9s \u00e0 se confronter\u2026 Ce texte est le fruit d\u2032une rencontre avec Enzo Cormann.<\/p>\n

Tout d\u2032abord avec une \u00e9criture et un auteur, mais aussi avec un homme que nous avons rencontr\u00e9 autour d\u2032un caf\u00e9. Ce texte co\u00efncide avec les mots que nous d\u00e9sirions prononcer \u00e0 l\u2032aube de notre m\u00e9tier, au d\u00e9but d\u2032un cheminement artistique commun, comme affirmation d\u2032une parole, d\u2032une interrogation sur notre monde : l\u2032art, le m\u00e9tier de com\u00e9dien-ne, le sens de notre m\u00e9tier aujourd\u2032hui, le \u00ab\u00a0r\u00f4le\u00a0\u00bb de l\u2032acteur\u00b7trice, sa \u00ab\u00a0place\u00a0\u00bb, sa marge de manoeuvre dans son m\u00e9tier, mais pas seulement. C’est aussi de l\u2032imbrication entre la vie et l\u2032art dont il s’agit : comment la vie nourrit l\u2032art et comment l\u2032art peut la d\u00e9crire, la d\u00e9passer, la cogner, l\u2032interpeller, lui montrer son caract\u00e8re provisoire et d\u00e9risoire\u2026 L\u2032envie de traiter de ces th\u00e9matiques \u00e9tait intrins\u00e8quement li\u00e9e \u00e0 ce que nous voulions explorer sur notre m\u00e9tier, avant de pr\u00e9tendre explorer le monde au travers de ce prisme.\u00a0\u00bb<\/p>\n

\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0Thissa d\u2032Avila Bensalah<\/p>\n

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\u00ab\u00a0Le commerce de l\u2032art, sous couvert d\u2032offrir des repr\u00e9sentations r\u00e9vis\u00e9es du monde, participe \u00e0 plein des processus d\u2032ali\u00e9nation qu\u2032il pr\u00e9tend par ailleurs d\u00e9noncer : division sociale du travail, r\u00e9ification, marchandisation des \u00e9changes, carri\u00e9risme, chantage \u00e0 l\u2032emploi et asservissement des corps sont, parmi bien d\u2032autres pr\u00e9dations, au menu de l\u2032aventure artistique. Je regarde avec horreur la cohorte des jeunes com\u00e9dien(ne)s qui se pressent \u00e0 la porte de l\u2032ogre. La pratique du casting me semble symptomatique d\u2032une \u00e9poque fascin\u00e9e par Les corps souffrants de ses propres victimes.<\/p>\n

Enzo Cormann est depuis trente ans l\u2032une des voix majeures du th\u00e9\u00e2tre contemporain en France, et trop de jeunes compagnies reculent devant ce th\u00e9\u00e2tre-son, de l\u2032explication, th\u00e9\u00e2tre critique, po\u00e9litique, si n\u00e9cessaire aujourd\u2032hui pour objecter au commerce de formes qui pr\u00e9f\u00e8rent fuir le r\u00e9el et la litt\u00e9rature comme la peste. La mise en sc\u00e8ne de la pi\u00e8ce est pr\u00e9cise, d\u2032une belle rigueur, et la parole des deux personnages f\u00e9minins impressionne – au sens photographique du terme – Les corps et Les voix, avec \u00e9l\u00e9gance, sans pr\u00e9tention, portant haut la fragilit\u00e9 salutaire que donne la jeunesse \u00e0 l\u2032intelligence.\u00a0\u00bb<\/p>\n

Fabrice Melquiot<\/p>\n

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Presse<\/span><\/strong><\/p>\n

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\u00ab\u00a0Comme dans <\/em>Quartett de Heiner M\u00fcller, d\u2019apr\u00e8s <\/em>Les Liaisons dangereuses, d\u00e9sir, amour et haine forment un filet dont il est impossible de s\u2019\u00e9chapper. L\u2019\u00e9criture de Cormann ressemble \u00e0 celle de <\/em>Quartett, tout en rempla\u00e7ant le cynisme par une musique plus douce.\u00a0\u00bb<\/em><\/p>\n

\u00ab\u00a0Thissa d\u2019Avila Bensalah (…) dans la belle sc\u00e9nographie sign\u00e9e Julia Kravstova, fait surgir le discours sous-jacent, celui de la femme objet en lutte avec la machine, une approche non pas du vertige mais de la peur du vertige.\u00a0\u00bb
<\/em>Thomas Hahn – Cassandre (Mars 2010)<\/strong><\/p>\n

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\u00c9quipe<\/strong><\/h3>\n

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Interpr\u00e9tation<\/strong> : Thissa d\u2032Avila Bensalah et Laure Gunther
Sc\u00e9nographie<\/strong> : Julia Kravstova en collaboration avec Lisa Navarro<\/p>\n

Lumi\u00e8re et vid\u00e9os<\/strong> : Gis\u00e8le Pape<\/p>\n

Costumes<\/strong> : Maria Adelia et Alice Duval
Cr\u00e9ation sonore<\/strong> : Beno\u00eet Pel\u00e9
R\u00e9gie g\u00e9n\u00e9rale<\/strong> : Arnaud Guillamon et Charles Deligny
Constructeur d\u00e9cor<\/strong> : Eric Patin<\/p>\n

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Dates<\/strong><\/h3>\n

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Lavoir Moderne Parisien – Festival Au F\u00e9minin<\/td>\ndu 9 au 13 mars 2010<\/td>\n<\/tr>\n
Maison de l’Arbre – Montreuil<\/td>\ndu 3 au 7 f\u00e9vrier 2010<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

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Avec l’aide<\/strong> de<\/strong> : la R\u00e9gion Ile-de-France au titre de la permanence artistique et culturelle, l’aide \u00e0 la cr\u00e9ation du d\u00e9partement de la Seine-St-Denis, l’aide \u00e0 la cr\u00e9ation de la Ville de Montreuil et l’accueil en r\u00e9sidence de la Maison de l’Arbre (Parole Errante-Armand Gatti).<\/p>\n

<\/strong><\/p>\n

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\"\" \"\" \u00a0\"\"\u00a0 \u00a0\"\"\u00a0\u00a0\"\"\"\"<\/p>\n

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Texte Enzo Cormann et mise en sc\u00e8ne Thissa d\u2019Avila Bensalah<\/strong><\/h3>\n

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\u00ab\u00a0Faire un film pour faire un film. Etre connu pour \u00eatre connu. \u00c0 quoi se rattache encore notre n\u00e9cessit\u00e9 profonde d\u2032\u00eatre artiste aujourd\u2032hui ? Le Dit de l\u2032imp\u00e9trance<\/em> est une pi\u00e8ce qui met en sc\u00e8ne une com\u00e9dienne en situation de casting, qui s’interroge int\u00e9rieurement sur les m\u00e9andres de son m\u00e9tier et une autre jeune fille, son \u00ab\u00a0alter ego\u00a0\u00bb, qui, elle, se questionne sur le sens de sa vie. Ces deux sujets \u00e9tant amen\u00e9s \u00e0 se confronter\u2026 Ce texte est le fruit d\u2032une rencontre avec Enzo Cormann.<\/p>\n

Tout d\u2032abord avec une \u00e9criture et un auteur, mais aussi avec un homme que nous avons rencontr\u00e9 autour d\u2032un caf\u00e9. Ce texte co\u00efncide avec les mots que nous d\u00e9sirions prononcer \u00e0 l\u2032aube de notre m\u00e9tier, au d\u00e9but d\u2032un cheminement artistique commun, comme affirmation d\u2032une parole, d\u2032une interrogation sur notre monde : l\u2032art, le m\u00e9tier de com\u00e9dien-ne, le sens de notre m\u00e9tier aujourd\u2032hui, le \u00ab\u00a0r\u00f4le\u00a0\u00bb de l\u2032acteur\u00b7trice, sa \u00ab\u00a0place\u00a0\u00bb, sa marge de manoeuvre dans son m\u00e9tier, mais pas seulement. C’est aussi de l\u2032imbrication entre la vie et l\u2032art dont il s’agit : comment la vie nourrit l\u2032art et comment l\u2032art peut la d\u00e9crire, la d\u00e9passer, la cogner, l\u2032interpeller, lui montrer son caract\u00e8re provisoire et d\u00e9risoire\u2026 L\u2032envie de traiter de ces th\u00e9matiques \u00e9tait intrins\u00e8quement li\u00e9e \u00e0 ce que nous voulions explorer sur notre m\u00e9tier, avant de pr\u00e9tendre explorer le monde au travers de ce prisme.\u00a0\u00bb<\/p>\n

Thissa d\u2032Avila Bensalah<\/p>\n

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\u00ab\u00a0Le commerce de l\u2032art, sous couvert d\u2032offrir des repr\u00e9sentations r\u00e9vis\u00e9es du monde, participe \u00e0 plein des processus d\u2032ali\u00e9nation qu\u2032il pr\u00e9tend par ailleurs d\u00e9noncer : division sociale du travail, r\u00e9ification, marchandisation des \u00e9changes, carri\u00e9risme, chantage \u00e0 l\u2032emploi et asservissement des corps sont, parmi bien d\u2032autres pr\u00e9dations, au menu de l\u2032aventure artistique. Je regarde avec horreur la cohorte des jeunes com\u00e9dien(ne)s qui se pressent \u00e0 la porte de l\u2032ogre. La pratique du casting me semble symptomatique d\u2032une \u00e9poque fascin\u00e9e par Les corps souffrants de ses propres victimes.<\/p>\n

Enzo Cormann est depuis trente ans l\u2032une des voix majeures du th\u00e9\u00e2tre contemporain en France, et trop de jeunes compagnies reculent devant ce th\u00e9\u00e2tre-son, de l\u2032explication, th\u00e9\u00e2tre critique, po\u00e9litique, si n\u00e9cessaire aujourd\u2032hui pour objecter au commerce de formes qui pr\u00e9f\u00e8rent fuir le r\u00e9el et la litt\u00e9rature comme la peste. La mise en sc\u00e8ne de la pi\u00e8ce est pr\u00e9cise, d\u2032une belle rigueur, et la parole des deux personnages f\u00e9minins impressionne – au sens photographique du terme – Les corps et Les voix, avec \u00e9l\u00e9gance, sans pr\u00e9tention, portant haut la fragilit\u00e9 salutaire que donne la jeunesse \u00e0 l\u2032intelligence.\u00a0\u00bb<\/p>\n

Fabrice Melquiot<\/p>\n

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Presse<\/span><\/strong><\/p>\n

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\u00ab\u00a0Comme dans <\/em>Quartett de Heiner M\u00fcller, d\u2019apr\u00e8s <\/em>Les Liaisons dangereuses, d\u00e9sir, amour et haine forment un filet dont il est impossible de s\u2019\u00e9chapper. L\u2019\u00e9criture de Cormann ressemble \u00e0 celle de <\/em>Quartett, tout en rempla\u00e7ant le cynisme par une musique plus douce.\u00a0\u00bb<\/em><\/p>\n

\u00ab\u00a0Thissa d\u2019Avila Bensalah (…) dans la belle sc\u00e9nographie sign\u00e9e Julia Kravstova, fait surgir le discours sous-jacent, celui de la femme objet en lutte avec la machine, une approche non pas du vertige mais de la peur du vertige.\u00a0\u00bb
<\/em>Thomas Hahn – Cassandre (Mars 2010)<\/strong><\/p>\n

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Dates<\/strong><\/h3>\n

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Lavoir Moderne Parisien – Festival Au F\u00e9minin<\/td>\ndu 9 au 13 mars 2010<\/td>\n<\/tr>\n
Maison de l’Arbre – Montreuil<\/td>\ndu 3 au 7 f\u00e9vrier 2010<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

 <\/p>\n

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Distribution<\/strong><\/h3>\n

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Interpr\u00e9tation – Thissa d\u2032Avila Bensalah et Laure Gunther
Sc\u00e9nographie\u00a0– Julia Kravstova en collaboration avec Lisa Navarro
Collaboration artistique\u00a0– Cl\u00e9mence Larsimon
Costumes\u00a0– Maria Adelia et Alice Duval
Lumi\u00e8re et vid\u00e9os\u00a0– Gis\u00e8le Pape
Cr\u00e9ation son\u00a0– Beno\u00eet Pel\u00e9
Constructeur\u00a0– Eric Patin
R\u00e9gie g\u00e9n\u00e9rale\u00a0– Arnaud Guillamon et CharLes Deligny
Production et relations publiques\u00a0– Corinne Drouet<\/p>\n

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Avec l’aide<\/strong> de<\/strong> : la R\u00e9gion Ile-de-France au titre de la permanence artistique et culturelle, l’aide \u00e0 la cr\u00e9ation du d\u00e9partement de la Seine-St-Denis, l’aide \u00e0 la cr\u00e9ation de la Ville de Montreuil et l’accueil en r\u00e9sidence de la Maison de l’Arbre (Parole Errante-Armand Gatti).<\/p>\n

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\"\" \"\" \u00a0\"\"\u00a0 \u00a0\"\"\u00a0\u00a0\"\"\"\"<\/p>\n

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