La Solitude Des Champs De Coton

Dans les solitude des champs aux coton. De Bernard-Marie Koltès. The Brooklyn academy of musique Opera House. 23 February 1996.

Vous lisez ce: La solitude des champs de coton

The les clients (Pascal Greggory) et The Dealer (Patrice Chéreau) in Bernard-Marie Koltès’s Dans les solitude des champs aux coton, directed by Patrice Chéreau, at auto Brooklyn academy of Music. Photo: Ros Ribas.

We room in a foncé industrial alley ns a great western city, broken de shafts de light and invaded from time to time passant par the sounds de traffic jaune Islamic melody. A jacket, tossed high through the air, lands through a durgences of glass. Deux men, the Dealer et the Client, appear in the gloom. Lock prowl approximately each other for an hour et a half, talking in gigantic speeches around what ce might mean venir deal with each other, venir fear each other, venir need each other. Suddenly they grapple through each other, et the phat ends.

The encounter that Dans ns solitude des champs aux coton (In the Solitude ns the cotton Fields, 1986) dramatizes would certainly last two jaune three minutes in actual life and probably ont no indigenous at all. Koltès has written it out in a linguistique slow motion haricot de soja extreme that nous watch these masculin meet ont if v the lentille of an electron microscope: within every desire they surname is a je about other desires; every engine they acknowledge contains a parenthesis about deeper motives; every statut they set has a caveat around further conditions. Auto imagery is often poetic, but the structure is constantly logical: if, then; if, then. They only address each divers using auto formal et impersonal “vous.” They never interrupt jaune fish for words. They never appel each other to placed up or shut up.

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Koltès died of AIDS in 1989, leave behind a novel and five plays, and has been fetishized more or less in the vein of blue jeans Genet. Favor Genet, Koltès handled cadrages issues et was always interested in the encounter of the Caucasian-French v their Arab- and African- et other postcolonial-French counterparts. Cible Koltès lived in a bigger human being than Genet ever did, through a political lucidity Genet lacked. Uneven Genet, Koltès never put his brain on hold in order to churn out a pornographic episode venir keep auto bourgeois leader interested. Arousal, in Koltès, liberates amie from nothing.

Koltès is likewise part of the life generation of french artists to have gotten over the trauma ns America’s worldwide cultural presence. Cette digests what cette wants ns America, and then move on, which means getting back to a specifically français life. Les états-unis damérique is influential in his titles, which oui the shadow of Williams and O’Neill end them. Dans ns solitude is année example. There are non cotton fields in France. Marqué every Frenchman knows venir what culture the photo of a cotton ar belongs, and what that d’image conjures up in terms ns racial history and politics.

Patrice Chéreau, who both directs and stars in this production, is widely known in leurope  for his clever productions of dramatic and operatic classics, oui well ont for his 1993 cinématicien La Reine Margot.

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cette was année early patron du Koltès, et it is thanks à Chéreau’s involvement the Dans ns solitude has fabriquer its method from the 1995 Venice biennale to Brooklyn passant par a dozen europe venues. The world is getting to see more de Koltès because de Chéreau’s commitment venir his work. Cible we are likewise seeing less. Chéreau has lessened the play emotionally et politically par simplifying it racially. Koltès wanted thé role of the Dealer, right here taken passant par Chéreau, à be played par a couleur noire actor, as it remained in its life production. Par Chéreau’s own account, Koltès angrily objected to the director’s playing the role du the Dealer.

Chéreau’s performance ont the Dealer is substantial exterior in style, and he clearly does...