As a performance, fascination liked, as a staging it was abstruse. If you don’t know the original piece very well, you often didn’t know where one scene ended and where the next began, who Bérénice spoke to – and what it was all about. Production had to do with racine tragedy: Huppert could have recited the Bible, the phone book or “The Art of the Deal”. And distributes four out of six speech roles on two actors (just not counted with five verses entrusted with five verses). The starting situation here for a better understanding: In ancient Rome, two mighty people send themselves to a conversation with Bérénice. Titus, the new Caesar, has had an unexploded love relationship with the Middle Eastern Queen for years. But wherever this is expecting an application, the newly salary imperator wants to separate from her forever. Because he had a kind of enlightenment a little before: Rome’s laws prohibited the marriage of a non -riot, especially a stranger who bears the royal crown hated to the Romans. In order to be worthy of his office and his ancestors, he has to get away from the beloved. Antiochus on his part, who, as the ruler of a neighboring state, once hurried in vain about Bérénice’s hand and has since become a confident of the forbidden relationship, the queen wants to admit that he still loves her. How will Bérénice react to both explanations? Emperor and King merge into a figurine Suliane Brahim’s interpretation she does it with noble outrage or suffering Arios. In luck, this queen is gently smiling and melodic, as if inner sound sounds weighed her speech. In misfortune, she complains elegantly or angry con fuoco, but always bound, not bound, beneficial, not dissonant. This corresponds to the steamed mood of the piece, which, it would be a score that was a predetermined presentation name “Mezza Voce”. And writes in a performance tradition that, especially at the Comédie-Française, prefers the refined craft to the applause of the applause-Racine is a holy cow in France that many regiere folks dreams of slaughtering, because less expected, Cassiers’ drawing of the two male main protagonists and the part of each other. Jérémy Lopez embodies both Titus and Antiochus in this staging: a performance that impresses memory work alone because of the memory. He gives the former with a tenor voice that threatens to overturn with nervousness, and a rushed gestures that lack the sovereign of the ancient Roman sovereign. The latter gives the latter a baritone organ that rests more, but also disillusioned a trace, where it does not even sound depressed. In the scenes, where the two meet, one remains one as a silhouette in the background, which speaks to the corresponding voice – which is reinforced by the band -; In the end, emperor and king merge into a figure, but often stringent, but often stimulating alexandre Pavloff plays both Titus ‘confident Paulin and Antiochus’ follower Arsace. The latter is a pedigree dog from the Orient, smart, yes mockingly and, as it were, always in a spiritual position. The former evokes a courtuna or Machiavellist pastor, whom a successful career has made irritable, indeed angry. His sugar -nasal voice quickly becomes shrill, his soft gestures can turn into violent: This is how he turns Titus’ head away with both hands away from Bérénice. Born ghosts who do not smell abuse everywhere, only in their own community, would say that Paulin grants the Kaisershn. One would like to know what to do in him when he patties Titus or followed every emancipated ward behind half -closed lids. It is not common in classic dramas that confidants of the main characters gain a life of their own. As soon as you ever wonder what your motifs and feelings may be. In this staging, Arsace seems to drive the concern for his privileged position in the capital of the Roman Empire, while the more intimate motives for Paulin’s heart (erratic) are (erratic). Even Bérénices Folgsfrau Phénice, provided by Clotilde de Bayser with hawk -eyed intensity, gains an unusually present profile. It succeeds in Cassiers, which Castellucci had failed: to present an actual reading of the text. This is not consistently stringent, but often stimulating. And the medieval museum abstracted stage design, the doppelganger costumes in nuances of beige, brown and rust red as well as the spotted soundtrack between near and Far Eastern plucked instruments, between electronic crystal bells, metal sounds and machine vibrations form a poetic and unadorned shrine for the unspeaked, unequal beauty of racine language.
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