The actress is woman love idea absolutely fair

It may be rebuffed by the austere party staged of Stanislas Nordey, judging their counting sometimes somewhat affected. At least, cannot be blamed to have mounted "The fair" of Camus in a minimal setting - the 1905 version Folies Bergère Russia would not have served the universal words of this piece on the "merits" of the revolutionary terrorism. So it is very nice this signed scenography Emmanuel Clolus: wall of stone or iron in turn Golden and old money delineating a vast space. The apartment of the terrorists is at times symbolized by a square of light, but as soon as their thinking flies, their territory becomes a forum - the whole scene of the Théâtre de la Colline.

It is difficult to enter the show, it is because, ruled with an iron hand, actors play up the map of distancing: flow asked, slow, cold anger. By two, three, or rank on the front of the stage, they interpret a sanitized ballet, which mingles tragic gesture and harangued policy. It is disturbing at first, but little by little this precision engineering makes sense: it allows to hear each replica of the text of Camus - his searing, its certainties and its setbacks. It is as if this exhibit, far too fast read as an indigestible Digest of humanistic philosophy, showed good speed all its hidden treasures.

"The righteous" "remixed" by Nordey are just the reverse of "Dirty hands" of Sartre (written at the same time), the assertion that everything is not permitted to achieve its ends (Revolutionary), but a true diving in the heart and soul of outraged human - analysis of all its contradictions, fears, hopes and doubts: is it a criminal when "removes" a symbol of despotism - in this case the Grand Duke of Russia Should we take into account collateral damage (Kaliayev renounces to launch its bomb first because the Grand Duke is surrounded by children). Is this hatred (Stepan) or love (Kaliayev, Dora) that must guide the action Should be once the attack committed, relying to a sorely missing God or to come "just" men

Ellipsis on stage are invited to think and to understand the ups and downs of an also chaotic world today than yesterday. It is a theatre of clear ideas flowing drip in the veins of the Viewer. More representation advances, more actors transport us. Because their phrasing, far is to be "neutral", the wife each word with an intention and emotion contained. Only very good actors can any long hold good on this thread - Emmanuelle Béart in mind, impressive Dora, sacrificing love which is in it to justice. The actress is woman, love, "idea", absolutely "fair". It radiates its presence and its inner flame Hill scene. Vincent Dissez brings to Kalaiyev a feverish humanity which beautifully highlights the contradictions of the character. As Wajdi Mouawad, author o how humanist, he forces his nature flowing in the uncompromising revolutionary Stepan skin, playing on pain, fracture, which justify the thirst for vengeance.

The show is not coldly linear. The staging is packaged in the fourth Act, or Kaliayev in prison is put to the test-d-' first "policy", the Chief of the devious police, Skuratov (Laurent excellent, savage), and then by "religion", the Grand Duchess devout (shocking Véronique Nordey), which attempts to pull his repentance. Before a black curtain, and then a red curtain, Stanislas Nordey orchestrates a fascinating requiem of ash and blood, how Theatre of Trestles. The drama then resumes its course, but already tipped in death. The death that will reconcile the terrorist with love, but shelve the revolution - with fear to the belly of the aftermath which are not singing. These "righteous", remarkable for intelligence continue us long. Exit "The dirty hands"... Stanislas Nordey, Camus finally has reason of Sartre.