Cruising Spots Charlotte

"Kasimir and Karoline" von Horvath, directed by Emmanuel Mota-Demarcy

Munich at the threshold of the 1930s. The Weimar Republic is crumbling, the economy is in crisis, unemployment explodes. Carolina (Sylvie Testud) just wants to have fun at the Oktoberfest in Munich, dizzy on roller coasters, eat ice cream, see Zeppelin across the sky. But her fiance Casimir (Thomas Smith) has no heart to this: he just lost his job as a driver. Caroline asks: Should she stay with Casimir search for rich and powerful man who will climb the social ladder? Around them, young people seeking thrills, jaywalkers, businessmen looking for love easy, fun and getting drunk in a carnival setting with his ice dealer, his grandfather eight slides, cinema, his monsters. At the end of the evening, Caroline leaves with a tailor mature after being seduced by the boss of it and teams up with Casimir a gang of youths gangsters.

Casimir and Caroline would have left if they Casimir had not lost his job? The men are basically selfish or is it the circumstances that corrupt feelings and the moral sense? These are inextricably intimate and political questions raised by the piece and return to the troubling reality. And the answer to Horvath, Brecht and contemporary who, like him, tried to bring on stage the contradictions of his time, is unequivocal: "Love never ends as long as you do not lose your job" .

Despite its strong political ties and social Horvath theater can not be reduced to a didactic theater and engaged, it is much more than that: he knows how to seize on the spot a company that breaks down when fear of the future makes cynical or violent. And the look of Emmanuel Mota-Demarcy who chooses to put in the mouths of characters in the crowd of other pieces of legislation Horvath only accentuates the darkness of the room. The decor consists of crushing huge attractions nicely figured, machinery steel inhuman size increases still feel crushed by a social class economic life.

As always, the staging of Emmanuel Demarcy-Mota, who took the reins of the City Theatre, is remarkable thoroughness and accuracy. But the coin has two sides: while it lacks a little emotion. And sometimes the two central characters, despite the outstanding play of Thomas and Sylvie Testud Durand, struggling to emerge, and are not swallowed up as the host of secondary characters strikingly chewed.

In Paris at the City Theatre and then on 1, April 2 at The Gangway La Rochelle, 7-11 April in La Comédie de Reims, 22-24 April at the Quartz in Brest, 11-20 May at the Grand T Nantes, May 27 to June 6 for SBT of Rennes.

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"The Bridge of Sighs" Richard Russo

"I may not be someone exciting," says the first page the narrator of "Bridge of Sighs" by R. Russo. Here is a little trite incipit, far from set pieces enticing whose intention is only too obvious, take the reader into his nets, which are revealed when the result is not up, be only smoke and mirrors. Yet, with this early on tiptoe, as if apologizing for such a little disturbing, R. Russo manages the feat of interest to the reader the fate of a hero wan, melancholy and insecure him for more than 700 pages. From the bottom

memories of Lou C. Lynch decides to write his memoirs, are exhumed 60 years of the life of Thomaston, a small town in the far reaches of upstate New York with its rivalries between neighborhoods, its plant whose toxic wastewater spoof the disease and its secrets. Because contrary to what the title suggests, the action of "Bridge of Sighs" is not located in Venice. Like "The Decline of the Whiting," his previous novel awarded the Pulitzer Prize, Richard Russo chose to anchor his story in even a small industrial town.

Lou C. Lynch, The main character is a sexagenarian, while the portrait of his father liked a man for his kindness but that does not shine through his mind. Muffled since childhood nickname of ridicule Lucy (Lou C.), Lou Lynch, married the lovely and lively and Sarah did grow the family business: he is now head of an "empire" of three grocery stores . If it is a happy man, he is nevertheless deeply melancholy and haunted by trauma occurred in childhood.

One of the most interesting aspects of the novel is how Russo talks about the influence of the ascendant almost supernatural only be exercised on another. Bobby Marconi, reluctantly, has this power over its neighbor Lucy since childhood. Fascination turns to obsession when Bobby's parents move to another part: as a jilted lover Lucy phone to Bobby, he wrote, went home. And the spell continues as an adult Lucy is still haunted by the memory of Bobby. It is true that all people in Thomaston, Bobby is the only one to have escaped a fate mapped out. By changing its name in exile in Venice, where he became a famous painter, he "managed to
do what we all imagine when we were young, before time and repetition erode and trivialize the mystery of existence. I say that Bobby is the only one to have invented a life and character that goes with it. "

Despite a dip in the first 200 pages and lack of credibility of the passages located in Venice, and particularly the painter, "Bridge of Sighs" is a great book that manages to live a world. R Russo portrayed with tenderness and humor the sacrifices of people condemned to live the same life as their parents, the regret of those who think he was wrong in life, unfulfilled desires. Throughout the pages emerges a portrait gallery of finely sketched: the earthy Uncle Jan, the failed writer and megalomaniac, the most beautiful girl in school whose beauty fades with time. Filigree of the narrative of the life of Lou reads the history of America's decline of small towns, earned by poverty and unemployment.

"Bridge of Sighs" by R. Russo, Ed Quai Voltaire, La Table Ronde, 2008, 726 p., 25 €.