From love to madness, the final five favorites of “Marianne” at the Festival d’Avignon

“Endgame”: when Beckett’s twilight echoes the heat wave

Jacques Osinski had an obsession: Samuel Beckett. completion Head to the worst, The last band, The image and Words and Musicthe director and his company L’Aurore boreale present a The game is over brilliant in this Off 2022. The masterpiece of the 1969 Nobel Prize for Literature revolves around the duo: the blind and paralyzed Hamm (Frédéric Leidgens) rules a domestic kingdom whose only subject is Clov (Denis Lavant), his servant and adopted son – while, in the trash can behind the stage, his two parents, Nagg (Peter Bronke) and Nell (Claudine Delvaux), rot.

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A compelling and often hermetic piece, but of endless philosophical richness, this desperate huis-clos (“You’re on Earth, there’s no cure”) sketches like an allegory a senseless world where every single creature lives by itself, in the folly of its end that comes … and does not come: “The end is in the beginning and yet we continue. » At a scorching Avignon Festival, where a fire in nearby Montagnette caused ash to rain on the city of the Popes on July 15, the loneliness Clov saw in the windows gave it an unparalleled resonance. The game is over. Isn’t this the destiny of masterpieces that seem forever now?

At the Théâtre des Halles until July 28, then on tour in early 2023 in Paris and Toulon.

“All for love!” » : make literature the fire of life

It’s only on stage that starts with a few lines “Understand who is” by Paul Éluard: the evocation, which refers to a famous answer by Georges Pompidou to a journalist in 1969, gives a hint of the drama that is about to unfold. We will not say anything more about the story told to us by the amazing Edwige Baily, who alternately embodies two French teachers: an eccentric old woman who tells, with great enthusiasm, the story of Antigone, and a young man who lives in love with letters and who seeks to share them with his students outside of the classroom. A declaration of love for literature, this show created with a text that is so powerful is also a declaration of love for life. Because this young teacher does not make his discipline a dull subject to teach: he wants to live poetically and pass on this fire. Which is a resistance at the same time to a freedom, but opens a dangerous path…

At the Théâtre des Doms until July 28, then on a tour of eight cities in France and Belgium in 2022-2023.

“Glenn, birth of a prodigy”: glory and misfortune of a genius of the 20th century

Glenn Gould (1932-1982) was a genius pianist, but a misfit in social life. Gifted with perfect pitch, he amazed observers from a young age and became world famous in the 1950s… before giving up all public concerts in 1964 to devote himself exclusively to records and broadcasts on the radio. A misanthrope full of fakes (he was a hypochondriac and suffered from Asperger’s syndrome), Glenn Gould hated the public to the point that every concert tormented him.

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Unknown to laymen, his fascinating personality is the subject of this lively piece, well served by six actors, which shows the bottom of the Canadian pianist’s meteoric trajectory. And especially in a family where incest is never far away, between a mother whose tyranny touches pathology and a cousin whose love is reciprocated. Despite the characters being a little lacking in consistency, this often funny but basically sad show reminds us that being a genius is always a good way to… miss your life!

At the Théâtre des Béliers until July 30, then from September at the Petit Montparnasse in Paris.

“The pebbles of Le Tilleul are smaller than those of Le Havre”: from the funny emptiness of our interactions

In this first part of a diptych around “empty”, the Norman company “pjpp” offers a hilarious pearl: this piece of great freedom, carried by four great actors, composed in an addition of sketches – interspersed with passages of music – again the most banal and silly interactions. Exploring with a keen sense of social embarrassment, small postures, misunderstandings and combinations, this gallery offers a typology of our quirks.

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From the host who keeps you forever at the door after dinner to the one who tries to be right in everything (for example, the ontological difference between a plate of soup and a plate of soup), from nana from embarrassed to get. you to his space-time at night to someone who unpacks the entire history of his music group, this tasty gallery transforms our insignificances into inexhaustible material for anthropological observation.

At Théâtre 11 Avignon until July 29, then on tour with eleven shows in 2022-2023.

“Sisyphus”: you must imagine the unhappy Sisyphus

Sisyphus was condemned to forever carry a rock to a peak where it would always fall. A stone, like a metaphor for shame, misery or despair that tirelessly afflicts our human condition. Because this is a “social-wacky re-reading” in the famous myth proposed by the promising author and director Florian Pâque, who plays his play in which he leaves the main role of a couple who embodies the eternal punishment of the poor, Benoît and Hélène Lefresne. “Is Sisyphus doomed to never rise again?”asks this story that, between an incipit and a final reflection on the fate of the King of Corinth, offers a singular and surprising play that seeks to put Sisyphus in the plural.

In other words, to reveal the permanence of a condition: Benoît is sometimes a medieval peasant, sometimes a Deliveroo delivery man. Regardless, times have changed but constraints remain. Full of ideas, serious without being heavy (also funny), this Sisyphus changes the happy way of reading a myth that is apparently included in the essay of Albert Camus. Whose play allows itself to knock down the famous last sentence, asking: “Who can imagine that Sisyphus is happy? »

At the La Scala Provence theater until July 30.

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