{"id":288,"date":"2021-05-05T20:08:37","date_gmt":"2021-05-05T20:08:37","guid":{"rendered":"https:\/\/www.critical-stages.org\/23\/?p=288"},"modified":"2021-11-21T21:05:33","modified_gmt":"2021-11-21T21:05:33","slug":"lagarce-une-vie-de-theatre","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/23\/lagarce-une-vie-de-theatre\/","title":{"rendered":"Lagarce, une vie de th\u00e9\u00e2tre"},"content":{"rendered":"\n<p class=\"has-text-align-center\"><strong>Jean-Pierre Thibaudat<br>208 pp. Les Solitaires Intempestifs<\/strong><\/p>\n\n\n\n<p class=\"has-text-align-right\">par<strong> Selim Lander<\/strong><a href=\"#end\" name=\"back\">*<\/a><\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\"><p>\u00ab&nbsp;<em>Montrer sur le th\u00e9\u00e2tre la force exacte qui nous saisit parfois, cela, exactement cela, les hommes et les femmes tels qu\u2019ils sont, la beaut\u00e9 et l\u2019horreur de leurs \u00e9changes et la m\u00e9lancolie aussit\u00f4t qui les prend lorsque cette beaut\u00e9 et cette horreur se perdent, s\u2019enfuient et cherchent \u00e0 se d\u00e9truire elles-m\u00eames, effray\u00e9es de leurs propres d\u00e9mons.<\/em>&nbsp;\u00bb<\/p><cite>Jean-Luc Lagarce<\/cite><\/blockquote>\n\n\n\n<p>Jean-Luc Lagarce (1957-1995) est un m\u00e9t\u00e9ore qui a travers\u00e9 le monde fran\u00e7ais du th\u00e9\u00e2tre sans qu\u2019on ait eu le temps de prendre toute la mesure de son talent. Ce n\u2019est en effet qu\u2019apr\u00e8s sa mort pr\u00e9matur\u00e9e, \u00e0 38 ans, que ses pi\u00e8ces (il en a \u00e9crit une trentaine) ont fait l\u2019objet d\u2019un engouement qui ne s\u2019est pas d\u00e9menti depuis. Ch\u00e9ri d\u00e9sormais des cours d\u2019art dramatique, pr\u00e9sent chaque ann\u00e9e avec plusieurs de ses pi\u00e8ces au Festival d\u2019Avignon OFF, il est finalement entr\u00e9 au r\u00e9pertoire de la Com\u00e9die-Fran\u00e7aise, a \u00e9t\u00e9 inscrit au programme du baccalaur\u00e9at, de l\u2019agr\u00e9gation de lettres. La pi\u00e8ce peut-\u00eatre la plus caract\u00e9ristique de son g\u00e9nie, <em>Juste la fin du monde<\/em>, a \u00e9t\u00e9 adapt\u00e9e par le cin\u00e9aste qu\u00e9b\u00e9cois Xavier Dolan et r\u00e9compens\u00e9e par un Grand prix au festival de Cannes.<\/p>\n\n\n\n<p>Sa gloire posthume contraste avec le peu de succ\u00e8s de ses pi\u00e8ces de son vivant. Malgr\u00e9 l\u2019estime et le soutien du couple Attoun, grand d\u00e9couvreur de talents \u00e0 \u00ab&nbsp;Th\u00e9\u00e2tre ouvert&nbsp;\u00bb, qui fit en sorte que quelques-unes de ces pi\u00e8ces soient diffus\u00e9es sur la cha\u00eene de radio France-Culture, Lagarce but monter lui-m\u00eame ses pi\u00e8ces dans le cadre d\u2019une petite compagnie, La Roulotte (en hommage au metteur en sc\u00e8ne Jean Vilar) et elles n\u2019ont gu\u00e8re circul\u00e9 au-del\u00e0 de Besan\u00e7on (o\u00f9 \u00e9tait install\u00e9e la compagnie) et de l\u2019Est de la France.<\/p>\n\n\n\n<p>\u00c0 Paris, seul le petit th\u00e9\u00e2tre de la Cit\u00e9 Universitaire accueillit deux de ses pi\u00e8ces de son vivant. D\u00e9pourvu de toute fonction officielle, Lagarce, perp\u00e9tuel intermittent du spectacle, tirait en r\u00e9alit\u00e9 l\u2019essentiel de ses moyens d\u2019existence des mises en sc\u00e8ne d\u2019autres auteurs (Moli\u00e8re, Marivaux, Labiche, Ionesco, Wedekind), d\u2019abord dans le cadre de sa compagnie puis en r\u00e9ponse \u00e0 diverses commandes. <em>La Cantatrice chauve<\/em> (Ionesco) fut un rare succ\u00e8s commercial de la Roulotte.<\/p>\n\n\n\n<p>En 1988, Lagarce apprend qu\u2019il a contract\u00e9 le sida, comme tant d\u2019intellectuels et artistes homosexuels \u00e0 cette \u00e9poque. Il n\u2019en continue pas moins son m\u00e9tier de metteur en sc\u00e8ne et d\u2019auteur, \u00e9crivant alors quelques-unes de ses plus belles pi\u00e8ces. Quand il est finalement rattrap\u00e9 par la maladie, il dirigeait les r\u00e9p\u00e9titions de <em>Lulu<\/em> de Frank Wedekind.<\/p>\n\n\n\n<p>Le petit livre de Jean-Pierre Thibaudat, critique de th\u00e9\u00e2tre, d\u00e9crit bien la carri\u00e8re de Lagarce, metteur en sc\u00e8ne et directeur de compagnie. Il pr\u00e9sente les principales pi\u00e8ces qui ont marqu\u00e9 l\u2019\u00e9volution de l\u2019\u00e9criture de cet auteur prolifique et constamment en recherche. On aurait cependant pr\u00e9f\u00e9r\u00e9 qu\u2019il en cite quelques r\u00e9pliques plut\u00f4t que de faire la liste de leurs premiers interpr\u00e8tes, une information qui ne peut int\u00e9resser aujourd\u2019hui que les historiens du th\u00e9\u00e2tre. Car le g\u00e9nie de Lagarce tient \u00e0 l\u2019originalit\u00e9 de sa langue, ses repentirs et ses r\u00e9p\u00e9titions, une langue \u00e0 la syntaxe \u00e9trange qui parvient, de mani\u00e8re inattendue, \u00e0 cr\u00e9er chez le spectateur une empathie unique avec les personnages.<\/p>\n\n\n\n<p>On regrette \u00e9galement que le biographe ne fasse pas davantage vivre Lagarce devant ses lecteurs. Nous apprenons tout ce qu\u2019il a accompli bien plus que qui il \u00e9tait. Nous n\u2019avons par exemple aucune id\u00e9e de la mani\u00e8re de jouer du Lagarce com\u00e9dien. La description de sa personnalit\u00e9 se r\u00e9sume \u00e0 presque rien&nbsp;: \u00ab&nbsp;un homme qui ne manque pas de hauteur [de fait, il \u00e9tait grand et maigre], de style et qui est dr\u00f4le&nbsp;\u00bb. Deux lettres \u00e0 ses compagnons de la Roulotte confirment le dernier point sans combler notre faim. Alors que J.-P. Thibaudat disposait pour cette seconde \u00e9dition de son livre de l\u2019int\u00e9gralit\u00e9 du <em>Journal<\/em> de Lagarce couvrant les ann\u00e9es 1977 \u00e0 2015<a href=\"#end1\" name=\"back1\"><sup>[1]<\/sup><\/a>, il ne nous apprend quasiment rien sur sa vie intime.<\/p>\n\n\n\n<p>Son homosexualit\u00e9 est \u00e9voqu\u00e9e en passant, nous n\u2019avons aucun t\u00e9moignage de ses amants, les quelques t\u00e9moignages de ses amis sont purement factuels. Il manque dans cette biographie tout ce qui pourrait donner un peu de chair \u00e0 une chronique virant \u00e0 l\u2019hagiographie.<\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<p><a name=\"end1\" href=\"#back1\"><sup>[1]<\/sup><\/a> Aux Solitaires Intempestifs (la maison d\u2019\u00e9dition cr\u00e9\u00e9e par Lagarce lui-m\u00eame \u00e0 la fin de sa vie), comme l\u2019ensemble de son \u0153uvre.<a name=\"end\">&nbsp;<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator is-style-wide\"\/>\n\n\n\n<figure class=\"wp-block-image size-thumbnail alignnone\"><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/Photo-Selim-Lander-comp-238x300-1-150x150.jpg\" alt=\"\" class=\"wp-image-290\"\/><\/figure>\n\n\n\n<p><a name=\"end\" href=\"#back\">*<\/a><strong>Selim Lander <\/strong>vit en Martinique (Antilles fran\u00e7aises). Ses critiques th\u00e9\u00e2trales apparaissent dans les revues \u00e9lectroniques:\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/mondesfrancophones.com\/\" target=\"_blank\">https:\/\/mondesfrancophones.com\/<\/a>\u00a0et\u00a0<a rel=\"noreferrer noopener\" href=\"http:\/\/www.madinin-art.net\/\" target=\"_blank\">http:\/\/www.madinin-art.net\/<\/a>.<\/p>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">Copyright <strong>\u00a9<\/strong> 2021 Selim Lander<br><em>Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n<div class=\"wp-block-image\"><figure class=\"aligncenter\"><a href=\"https:\/\/creativecommons.org\/licenses\/by-nc-nd\/4.0\/\" target=\"_blank\" rel=\"noreferrer noopener\"><img decoding=\"async\" src=\"https:\/\/www.critical-stages.org\/wp-content\/uploads\/2021\/03\/88x31.png\" alt=\"Creative Commons Attribution International License\"\/><\/a><\/figure><\/div>\n\n\n\n<p class=\"has-text-align-center has-small-font-size\">This work is licensed under the<br>Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":289,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-288","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-book-reviews"],"jetpack_featured_media_url":"https:\/\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/CS-Books-Lander-Cover.jpg","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":57,"url":"https:\/\/www.critical-stages.org\/23\/la-resilience-des-pratiques-de-theatralite-a-travers-les-ages-exemples-du-bassin-linguistique-arabe-et-du-maroc\/","url_meta":{"origin":288,"position":0},"title":"La r\u00e9silience des pratiques de th\u00e9\u00e2tralit\u00e9 \u00e0 travers les \u00e2ges : exemples du bassin linguistique arabe et du Maroc","author":"Selim Lander","date":"April 10, 2021","format":false,"excerpt":"Baker Saddiki* R\u00e9sum\u00e9 Cet essai, qui n\u2019a pas pr\u00e9tention \u00e0 l\u2019exhaustivit\u00e9, a essentiellement pour objet de poser des interrogations au sujet de la th\u00e9\u00e2tralit\u00e9 arabe, depuis ses origines populaires et patrimoniales attest\u00e9es jusqu\u2019\u00e0 nos jours ; questionnements qui apportent un certain \u00e9clairage face \u00e0 une notion qui subitement est devenue\u2026","rel":"","context":"In &quot;Essays&quot;","block_context":{"text":"Essays","link":"https:\/\/www.critical-stages.org\/23\/category\/essays\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/04\/image6.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/04\/image6.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/04\/image6.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]},{"id":194,"url":"https:\/\/www.critical-stages.org\/23\/le-metteur-en-scene-face-au-defi-de-lexil\/","url_meta":{"origin":288,"position":1},"title":"Le metteur en sc\u00e8ne face au d\u00e9fi de l\u2019exil","author":"Selim Lander","date":"April 11, 2021","format":false,"excerpt":"Georges Banu* R\u00e9sum\u00e9 L\u2019exil du metteur en sc\u00e8ne, impos\u00e9 ou volontaire, est le plus souvent effectu\u00e9 sous l\u2019impact d\u2019un pouvoir totalitaire. L\u2019exp\u00e9rience del\u2019exil distingue le metteur en sc\u00e8ne des artistes autres, individuels, car il se confronte \u00e0 des communaut\u00e9s d\u2019acteurs \u00e9trangers, \u00e0 des conditions de travail diff\u00e9rentes par rapport au\u2026","rel":"","context":"In &quot;Essays&quot;","block_context":{"text":"Essays","link":"https:\/\/www.critical-stages.org\/23\/category\/essays\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/04\/featured3.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":230,"url":"https:\/\/www.critical-stages.org\/23\/une-denonciation-astucieuse-de-lislam-radical\/","url_meta":{"origin":288,"position":2},"title":"Une d\u00e9nonciation astucieuse de l\u2019islam radical","author":"Selim Lander","date":"May 5, 2021","format":false,"excerpt":"Selim Lander* J\u2019ai rencontr\u00e9 Dieu sur Facebook. Texte et mise en sc\u00e8ne Ahmed Madani. Cr\u00e9ation sonore Christophe S\u00e9chet. Lumi\u00e8re Damien Klein. Costumes Pascale Barr\u00e9. Avec Mounira Barbouch (la m\u00e8re), Louise Legendre (Nina), Valentin Madani (Amar). En ce mois de janvier 2021, la Martinique, petit territoire fran\u00e7ais d\u2019outre-mer, \u00e9tait l\u2019un des\u2026","rel":"","context":"In &quot;Performance Reviews&quot;","block_context":{"text":"Performance Reviews","link":"https:\/\/www.critical-stages.org\/23\/category\/performance-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/featured-1.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/featured-1.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/featured-1.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/featured-1.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":280,"url":"https:\/\/www.critical-stages.org\/23\/dancers-artists-lovers-ballets-suedois-1920-1925\/","url_meta":{"origin":288,"position":3},"title":"Dancers, Artists, Lovers: Ballets Su\u00e9dois 1920\u20131925","author":"Selim Lander","date":"May 5, 2021","format":false,"excerpt":"Edited by Erik Mattsson320 pp. Arvinius + Orfeus Publishing Reviewed by Anna \u00c5ngstr\u00f6m* \u00ad\u00ad\u00ad\u00ad\u00ad\u00ad\u00ad\u00ad\u00ad\u00ad\u00ad\u00ad\u00ad\u00ad\u00ad\u00ad\u00adThe pioneering work of Stockholm\u2019s now long-gone Ballets Su\u00e9dois appears as a bold and luxurious period in the history of dance. This new anthology written by a team of international researchers in art, dance, theatre and music\u2026","rel":"","context":"In &quot;Book Reviews&quot;","block_context":{"text":"Book Reviews","link":"https:\/\/www.critical-stages.org\/23\/category\/book-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/Anna-Angstrom-150x150.jpeg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":259,"url":"https:\/\/www.critical-stages.org\/23\/who-are-the-hypocrites-moliere-in-the-know\/","url_meta":{"origin":288,"position":4},"title":"Who Are the Hypocrites? Moli\u00e8re in the Know","author":"Selim Lander","date":"May 5, 2021","format":false,"excerpt":"Aikaterini Delikonstantinidou* The Cabal of Hypocrites or Moli\u00e8re, written by Mikhail Bulgakov. Produced by the National Theatre of Greece, Main Stage, 6 February 2021. Directed by Stathis Livathinos; translated by Leonidas Karantzas; set and costumes by Eleni Manilopoulou; music by Theodore Abazis; movement by Ageliki Stellatou; lighting by Alekos Anastasiou.\u2026","rel":"","context":"In &quot;Performance Reviews&quot;","block_context":{"text":"Performance Reviews","link":"https:\/\/www.critical-stages.org\/23\/category\/performance-reviews\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/Photo-3.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/Photo-3.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/Photo-3.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/05\/Photo-3.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]},{"id":152,"url":"https:\/\/www.critical-stages.org\/23\/tadashi-suzuki-and-the-thalia-prize\/","url_meta":{"origin":288,"position":5},"title":"Tadashi Suzuki and the Thalia Prize","author":"Selim Lander","date":"April 30, 2021","format":false,"excerpt":"Margareta S\u00f6renson* The Japanese stage director and author Tadashi Suzuki received\u00a0 the Thalia Prize from the International Association of Theatre Critics (AICT-IATC) on 16 April 2021. Due to the pandemic, the award ceremony was presented online in conjunction with an international conference on the work of Mr. Suzuki, whose performance\u2026","rel":"","context":"In &quot;Thalia Prize&quot;","block_context":{"text":"Thalia Prize","link":"https:\/\/www.critical-stages.org\/23\/category\/thalia-prize\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/04\/toga-park.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/04\/toga-park.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/04\/toga-park.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.critical-stages.org\/23\/wp-content\/uploads\/sites\/24\/2021\/04\/toga-park.jpg?resize=700%2C400&ssl=1 2x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/posts\/288","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/comments?post=288"}],"version-history":[{"count":4,"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/posts\/288\/revisions"}],"predecessor-version":[{"id":998,"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/posts\/288\/revisions\/998"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/media\/289"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/media?parent=288"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/categories?post=288"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/23\/wp-json\/wp\/v2\/tags?post=288"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}