The two giant walls are entrouverts on a deep night. A "music" funny escapes: the noise of the wind, the vacuum of the unknown. It is mysterious and without end, the line of flight to the future, the sublime - perhaps death. "The heroes of Rosmersholm" and "A Doll's House" are held close to the hole, but are reluctant to the next step. It is by the door (large), finally, that they will leave to their inexorable fate. Designer inspired, Stéphane Braun-schweig conducted the setting perfect for these two pieces of Ibsen, that he chose to ride together (1). Why reconcile them Because both require their characters in radical choices, almost surhumains. More than a century later, in a lack of ideal world, the metaphysical issues they pose and their dramatic dénouement seem surprisingly modern.
In "Rosmersholm", Rosmer, the widowed pastor, led by Rebekka West, a beautiful and young governess, decided to break his chains: religion, traditions, conservatism, austerity exit... Long live the free thinking that tomorrow will create a society of equal men, all aristocrats! But the dreams of emancipation break on the wall of the morality of impossible love, of the pathetic schemes carried out by Rebekka to conquer Rosmer... The only freedom that rest is death.
In "A Doll's House", Nora, women object, who once was a fake write to save her husband, is overtaken by his fault. And facing the emptiness of its torque, skewed between male and female relationships. After waiting in vain a "miracle", it will go away at failure - to leave everything, her husband, her children, her home-, to live his life of liberated women.
The staging of Braun-schweig gum with subtlety everything that there is dated in two storylines. In stylized Manor of Rosmersholm, where portraits of family travel - posed on the ground, face, and then returned, and finally raccrochés to the wall when back order former-, reign a surreal atmosphere, outside time. Free thinking has no age. Wearing simple black and white clothes, the characters evolve with elegance and economy of gestures which makes their vivid and sharp words.
Oneirism and abstraction
Doll's House, all white, at the very northern minimum design, for its part will unravel over the scenes to let appear the grey walls forming a salient angle. The game and the contemporary costumes - limit sitcom - subtly evolved towards abstraction and the oneirism. The paroxysmal stage where the husband, Helmer, discovered the "fault" of his wife and where the doctor friend reveals his next death, has speeds from ancient tragedy - believed to touch the secrets buried in the human soul, through the magic of the theatre.
The actors are excellent. In "Rosmersholm", Maud the Grevellec is an ambiguous Rebekka cleared activist both and alienated lover. Claude Duparfait (Rosmer) plays innocence enhanced with sensitivity and retained. Christophe Brault (Kroll) is a formidable fundamentalist "prying". In "A Doll's House", Chloé Réjon camped with a beautiful natural the injured Baby Doll, which becomes "suffragist". Bénédicte Cerrutti is a Ms. Linde shocking and abrupt. Eric Caruso is very convincing in mean-spirited banker (Helmer) and Philippe Girard of the Dr. Rank one desperate beautiful. Special mention to Annie Mercier, which interprets the good in two parts and summarizes the pain of the people, left on the margins of large human games.
When the theatre brings thirst of ideal... Rigorous, modern, plastically irreproachable and interpreted by very fair actors, this double reading of Ibsen - in a new clear translation of Eloi Recoing (2) - will date.
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