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In the temple of the biggest theater festival in the world, lie a giant hand and head (thanks to the workshop of the Grand T of Nantes). At the age of 36, the Rouen director Thomas Jolly and Thyeste join the Roman author Seneca to the most prestigious stage a director can dream of.
But this fabulous setting has many pitfalls. By mounting a piece on the Atree monster that he interprets, Thomas Jolly had to face a first capricious and indomitable giant, the court of honor itself, where the wind rushes with whim. As the public enters the trumpet countdown, and the night falls gradually on the wall of 25 meters of the palace in the background, enveloping the 2,000 spectators, the silence is troubled by the chirping of the birds.
Fantastic
Soon another bird of ominous enters on this stage of 40 meters on 16, small to be blinded by a red banner climbing the front of the giant failed to go to post on a small platform in watch. Then go to the sounds of percussion furies heralding the curse. In the center the star drawn on the ground seems to hide a cloaca. From his back, Tantalus (Eric Challier), father of Atreus (Thomas Jolly) and Thyeste (Damien Avice), shining like a lizard, the one by whom the fatum is sealed, when to satisfy the gods he offered them his son in pasture
Thanks to a good mastery of the gigantism that also corresponds to the theater of the ancient times, the rivalry of the twin brothers for the throne of Mycenae takes all its atrocious power. Second constraint in the court, the compulsory sound system that changes the deal. Thomas Jolly seized it to change the voices in this dismal and fantastic atmosphere where Atrée will make her children eat in Thyeste. Yellow suit and neon green crown, he goes through the two and a half hours of tragedy in majesty, vengeance pegged to the body despite the tattoos that bind him to his brother.
The gods are absent and the sun fled under the starry sky. Pure Avignon sky. Without much effect, this disturbance of the stars and nature itself in front of the stupidity of the men is rendered by games of light (lasers, projections) which are the signature of the Rouen director.
Of the slam
Music occupies an important place in the show. Thomas Jolly entrusted it to his friend Clément Mirguet, a Viennese musician with whom he has worked for a long time. There is the slam that Emeline Frémont lives in these moments of chorus where the tension seems to alleviate a little. And the beautiful set with the children, a sort of requiem that makes even more palpable the horrible perpetuation of the crimes of infanticide and cannibalism.
In Shakespeare the author by which Thomas Jolly was crowned, the foul is adorned often attributes of madness or even buffoonery. Here, Seneca plunges us into the night and translated by Florence Dupont speaks of "crime against humanity" when we reach this level of violence. A shower of black butterflies falls on the stands when the irreparable is committed. Nothing will be like before.
At the festival of Avignon until the 15th July. At the Villette in Paris on 26, 27, 28, 30 November and 1st December 2018. At the theater of Caen on 6, 7 and 8 March 2019 and broadcast on France 2 on Tuesday, July 10th at 11:15 pm.
Thomas Jolly: "A death dinner"
"The first thing that emerges from Seneca's text is cooking children. All this is very anatomical. I consider myself a stage translator (more than a director) so how to seize this material? We are in the irrepresentable so we will make the monstrosity by the words more than by the images. There is also this perilous scenery achieved thanks to the teams of the Grand T, huge head and hand. I put three or four in the trash and then I went to the Louvre and I was inspired by the statue of Melpomene. This mythology of the play allows the emergence of the fantastic. There is this disproportion between little and big beings and this non-geolocated, undated way of saying that tragedy is still there. We called it "The dinner of the cons of death" because we are 2,100 to all know that Thyeste ate his children except him. We end up like the Romans did, we cut the tears … But the translation of Florence Dupont says that this attack corrupts our way of living together. We want to be a little saving at the end where the text of Seneca projected "Of anger".
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