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Alberto Moravia, Two Women (1957)

Coming from the country, marrying an old merchant, having a daughter, Rosetta, the Two Women is not unhappy with his lot. His old husband, more disgusting, dies. Here it is liberated, happy and equipped with a store and an apartment. The war comes and pushes her to join the campaign as she knows. Then an endless journey begins for mother and daughter.

Moravia tackles WWII through the eyes of a naive mother who wants to preserve its property and above all protect her daughter. Without a political setback if it is to love those who allow it to enrich the character of the mother is a woman of the people suffering the conflict day by day. Pictures at an odyssey hellish portraits of individuals rustics, the novel is entirely occupied by the war without that we can understand rationally. Retrospective narrative in first person, is fear, doubt, hopes to succeed. A war that transforms people, strikes and based on chance. A reality that, as long as it imprisons you, can not be anticipated. Moravia takes the time to show us the war drags on and moved, the characters that should be sanctified, but are crushed by the mere fact of not being in the right place at the right time, for saying a word clumsy. And all trying to survive, survive and survive in a conflict with the traces left on violent and in the body ...

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When everything goes wrong

I apologize for the absence on this blog since early April. Indeed, family responsibilities keep me away from my pc. In fact, I live with intensity, the days pass, retaining at the bedside of one of my children. Fortunately, the presence of my beloved Angels have supported me, they have protected my child. THANK

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Marivaux, False confidences. Directed by Didier Bezace.

Celestine, Lyon, May 2010. My

seats made well in advance, I could not remember the distribution, or the director. Pleased to see Arditi and Grinberg, but more especially pleased to see emerge on stage Bouillette Christian, I really liked in The School for Wives , directed by ... Bezace with Arditi.

Dorante arrives on scene as a spectator, like a stranger in a western by Sergio Leone. It is not of this world and assists with contemplation of the scenery on the descent the plateau. Then the plot is set up, Dubois pulling the strings with a relaxed and diabolical cleverness. Arditi made his Arditi, quiet strength, how not to be seduced by his words when you are whispered in the ear. I saw all the characters he had performed on stage for Resnais but it is the business line that is at work, precise gestures, glances, tones ... Boilie is perfect, getting angry with a generous pleasure. I love these actors original voices, they require admiration from the first words spoken. Jean-Yves Chatel, who plays the Count, not great but its role talented enough to fill it with flesh and presence. Harlequin is brilliantly interpreted by Alexandre Aubry, he distills a blast so powerful a machine as we would like to see a joke in a rainy night. Dorante is bland, the role requires, the handling is all the more admirable and Robert Plagnol knows does not exceed the limits of his character. Isabelle Sadoyan is a wonderful Madame Argante, strong woman who knows petting his dog, playing with her fan while defending the interests of the family. Followed Marton, full of life and emotion made by Marie Vialle and finally Araminta. Araminta is sublimated by Anouk Grinberg and his diction phenomenal, between singing and murmuring, what sweet music as her voice, melody that gives his hesitations, his dilemma all the subtleties of the text of Marivaux. She certainly makes the heart more than this dark tale of dupes.

The ambiguous text of Marivaux may suggest that love prevails, but that night I saw a ultimate manipulation as we can, it seems, hold the replica Dorante, the one where he reveals the trick and love, as the final piece that seals the plot, the one where he gets free from any revelation. Moreover Dubois, after the couple climbs the stairs sat on scene at the beginning of the play as the cup that was to conquer Dorante, takes care to watch the public to throw this eye malicious, proud of his work and the satisfaction of a job well done. That side of Choderlos de Laclos and its Dangerous Liaisons the room looks, with a few years ahead, this scene in any case underlines the themes libertines. And the final picture that comes designate suffering Marton may prefigure the coming of Araminta.
The decorations give way to simple text, the light is balanced properly and working on the sound allows this classic piece, and then codified to testify that day happens naturally and easily. The rule of three units did not see, does not feel.
A pleasant moment, one where the dog takes his ease and began to stretch and go out to the public, distracted, no longer pays attention to the replicas. Christian Bouillette and then moves a pointing gesture assured the leadership that will take the little dog. It runs immediately applause, the spectacle continues ...