Applauding “L’Amant” on stage
Dforgotten winner! The two plays by Harold Pinter that Ludovic Lagarde is staging today at the Théâtre de l’Atelier form a sensational diptych. Both evoke couple relationships, The lover et The Collection in fact they respond to each other in unique ways. The English playwright wrote them within two years, in the early 1960s.They belong to a cycle that their author designated with the term “comedies of menace”,because they have a Hitchcockian climate. Squeaky as hell, the lyrics flout convention. LetS judge… In The lovera woman has an extramarital affair. Her husband knows this and makes sure to never come home too early. Until a grain of sand slips into his diary.
In The Collectiontwo families see their daily life explode when the virus of jealousy invades one of them. Terribly cruel, yet irresistibly funny, these gems of writing reveal Pinter’s talent for putting absurd dialog in a box. We can see the influence of his friend Beckett. But it is above all for their excellent distribution that you should go and see these shows. And if possible both in succession, because there are marvelous echoes between them. Valérie Dashwood and Laurent poitrenaux are imperial in everything. As for Mathieu Amalric and Micha Lescot, the perversity they manage to instill in their characters is simply diabolical.
The lover et The Collectionat the Atelier theatre, at 7pm and 9pm, until 25 June.
Say “Wow!” » at the cinema
After The 2 Alfreds, biting comedy about the world of business and start-ups,Bruno podalydès delicately tackles that of the real estate sector thru the daily life of two agents,he and Karin Viard,who visit two properties near Bougival: a completely white and empty apartment and a magnificent bourgeois house (“pool,RER view”) inhabited by an original couple – Eddy Mitchell and Sabine Azéma who meet again 28 years later Happiness is in the meadow by Étienne Chatiliez. But how can they make their customers fall in love with the famous “Wow!” » ? Bruno Podalydès desperately searches for it and opts for mock-disorderly scenes in which colorful characters parade: a crying nurse (Florence Muller), a handsome customer (Denis Podalydès), two scooter riders in Dupont and Dupont style (Manu Payet and Yann Frisch), a rich bourgeois (Isabelle Candelier), a singing teacher (Agnès Jaoui). A somewhat light, slightly melancholy comedy, in which Bruno Podalydès mischievously shows us a mirror.
“Oh! »in the room.
Watch Open bookValves
En route to the 16th edition of the Vannes Book Fair, including The point is a partner, chaired this year by Didier van Cauwelaert, surrounded by the godmother, Irène Frain, and the godfather Yann Queffélec.Livr’à Vannes (Levr’e Gwened, in Breton) has a taste for the open sea and invites Icelandic Eva Björg Ægisdottir and American Craig Johnson to tackle the thriller. It also salutes Georges Simenon on the occasion of the 120th anniversary of his birth and offers a gastronomic focus with Sophie Dudemaine and her famous cakes. politics is no exception: Roselyne Bachelot will be the subject of a round table during which she will go behind the scenes of this universe that she knows so well (10 June, 2pm).Around 200 authors are invited to the port of Vannes, including philippe Besson and Xavier de Moulins for a dialogue moderated by Élise Lépine, from the editorial team of point, on the theme “Dealing with your ghosts and your grief” (11 June at 10am). It is unachievable to escape the ritual dictated for dummies which will have Colette as its subject (11 June at 10.45am). Also noteworthy is the tribute paid to Jean Teulé (11 June at 11.45am), who was honorary president in 2019.
From 9 to 11 June, port of Vannes
READ ALSO Jean Teulé in 5 essential works
Discover the mysteries of “Casa Susanna”
In 2004, a batch of 340 photos resurfaced at a New York flea market. These old amateur photos taken between 1950 and 1960 show men dressed as women. Not cabaret divas, but American women of the time, housewives middle class, who garden or play Scrabble.Welcome to Casa Susanna, a wooden house, lost at the foot of the Catskill Mountains, a few hours from New York. It was here that, in the midst of McCarthyism, in the reactionary America of the Hays Code where every deviant behaviour was hunted, Susanna (real name Tito Arriagada) and his wife Marie, a famous hairdresser on Fifth Avenue, were the first to repair the entire clandestine network of transvestites.Fashion shows, hairstyles, make-up and stiletto heels, everything was allowed at Casa Susanna. A great collector of photos of transvestites,director Sébastien Lifshitz,aided by photography historian Isabelle Bonnet,takes us,through this fabulous documentary,to this remarkable refuge where transidentity began to be invented.
Casa Susannaon Arte, 14 June at 8.55pm; exhibition at the Rencontres de la Photographie in Arles, from 3 July to 24 September.
Turning dust into gold in Chambord
To discover
Answer
“turned the jardin des Plantes in Paris upside down. Twelve years later, Lionel Sabatté’s wolves return… to Chambord Castle. And it is an understatement to say that they are in their place in this area where François I stayed. First of all because the property has long hosted royal and then presidential hunts; then because these notable animal figurines are made exclusively with (sheep) dust. “But there is a lot of dust in this stunning house,” smiles the visual artist. in residence for two months this winter, the artist has installed almost 150 works in the central residence of Chambord, but also in the park that surrounds it. Along with its wolves, bronze birds, salamanders painted with enamel highlights and even a giant owl at the edge of a body of water. Don’t miss the small amateur cabinet where he placed small figurines with captivating fetish silhouettes. Simply magical!
“Clandestine pollen” exhibition. au Chambord estateuntil September 17th.
What are the central themes explored in Harold Pinter’s “the Lover” and “The Collection”?
Interview Between time.news Editor and Theater Expert on “L’Amant” and “The Collection”
Time.news editor: Good afternoon, and welcome to this week’s cultural spotlight. Today, we have a special guest, theatre expert Dr. Claire Montague,to discuss the intriguing diptych currently staged at the Théâtre de l’Atelier: Harold Pinter’s The Lover and The Collection. Thank you for joining us, Dr. Montague.
Dr. Claire Montague: Thank you for having me! I’m excited to discuss Pinter’s works and their relevance today.
Editor: Pinter’s label of these plays as “comedies of menace” is quite engaging. Can you elaborate on this concept and how it manifests in The Lover and The Collection?
Dr.Montague: Absolutely! Pinter coined the term “comedies of menace” to describe plays that blend dark humor with psychological tension. In The Lover, we see an exploration of marital dynamics where infidelity is not only acknowledged but almost performed. The tension arises from the husband’s knowledge of his wife’s affair, creating a disturbing yet compelling scenario. It’s absurd yet relatable, as it reflects the complexities of trust and betrayal.
Editor: that sounds riveting.And how does The Collection complement this exploration of relationships?
Dr. Montague: The Collection dives deeper into the corrosive impact of jealousy within familial relationships. The dialog is both sharp and absurd,reminiscent of Beckett’s influence. It showcases how jealousy can disrupt everyday life, triggering chaos in the simplest interactions. Together, these plays create a narrative that reflects the darker aspects of love and human connection, pushing audiences to confront their own discomfort.
Editor: You mentioned the outstanding performances by the cast. What makes Valérie Dashwood, Laurent Poitrenaux, Mathieu Amalric, and Micha Lescot stand out in these roles?
Dr. Montague: Each actor brings a unique dynamism to their characters. Amalric and Lescot, in particular, have an amazing ability to embody the darker, more perverse elements of Pinter’s characters. Their performances are nuanced, showcasing the complexities of their relationships. Dashwood and Poitrenaux add a level of imperial energy that enhances the tension and highlights the absurdity within their interactions. The ensemble work creates a rich, layered experience for the audience.
Editor: It sounds like a must-see experience. For those who might only be familiar with Pinter through his more dramatic works, what do you think newcomers should expect when they see The Lover and The Collection?
Dr. Montague: They should expect to be provoked and entertained! Pinter’s dialogue is rich with irony and wit, and both plays balance humor with unsettling themes. Newcomers might find themselves both laughing and questioning their perceptions of relationships. It’s a masterclass in how to use language and subtext to challenge audiences, and I believe it will resonate even with those unfamiliar with his works.
Editor: Thanks for that insight, Dr. Montague. Do you have any recommendations for viewers on how to approach these plays for the best experience?
Dr. Montague: I’d recommend watching both plays in succession! The echoes between them deepen the understanding of Pinter’s themes and enhance the viewing experience. Also, encourage viewers to pay close attention to the dialogue and subtext—the real enjoyment comes from unpacking the layers of meaning behind the seemingly simple words.
Editor: Wonderful advice! Before we wrap up, is there any final thought you’d like to share about Pinter’s work as it stands in modern theatre?
Dr. Montague: Pinter’s plays remain incredibly relevant today. They reflect the intricacies of human relationships and the tension that can exist within them. In a world where communication is frequently enough filtered through screens, Pinter’s raw exploration of direct human interaction feels both timely and timeless. I urge everyone to embrace this prospect to witness the brilliance of his work live.
Editor: Thank you, Dr. Montague, for your insights and enthusiasm! The lover and The Collection are undoubtedly important contributions to contemporary theatre, and we encourage everyone to experience them at Théâtre de l’Atelier before June 25.