Photo: Yanick Macdonald
Created to 414 av J.-C., the tragedy of Sophocles brings us back to the foundations of democracy and the exercise of justice.
If it is a universe that the prolific Serge Denoncourt has little frequented, it is that of the Greek tragedy. Fifteen years after Oreste : The Reality Show, a production of the Théâtre de l’opsis, which portrayed the way in which certain mass media trivialize the violence, is that the director keeps up with the terrible fate of Atreus measuring up to Electra. Translated by Evelyne de la Chenelière, the text of Sophocles dissects a horror as well as contemporary.
An assembly of concrete blocks, which evokes both Antique and post-modernity, a bridge thrown between the past and the present, the outside and inside, a parched earth and a stormy sky. On this plateau bifrontal, a configuration that is dear to Denoncourt, penetrates first the karoo (fascinating Caranne Laurent). Once the beggar has deposited her dolls-spectators on the stairs strewn with detritus, to the gates of the royal palace of Mycenae, the workings of the tragedy, inevitable, will get underway.
Because of his mother, Clytemnestra (Violette Chauveau), and his lover, Égisthe (Fayolle Jean Jr.), killed his father, Agamemnon, Electra (Magalie Lépine-Blondeau) is furious. To achieve its purpose, that is to say, wreak vengeance, the young woman can hardly count on his sister, Chrysothémis (Marie-Pier Labrecque). Only Oreste (Vincent Leclerc), his brother, to return to the fold in the company of his faithful tutor (Alex Bisping), could accomplish the fatal act that would appease his anger.
In general, the game is rather outrageous, especially on the title role. Through cries and lamentations, one begins to dream of an interpretation of restraint, where the shade would be cultivated, where the words would have values that are more contrasting. That said, deploying in the costumes as well as in the music, not to mention the choirs chanted from the bleachers, the aesthetic of the middle east is as rich as consistent.
Created to 414 av J.-C., the tragedy of Sophocles brings us back to the foundations of democracy and the exercise of justice, but also to our endless retaliation. In the translation of Evelyne de la Chenelière, the word “still” recurs again and again, like a leitmotif, a warning.
Thus, for the fourth song of the choir, on a text of his own, the author is made to say to the leader : “When we open a history book, we will remain prohibited in front of all that it is still not known at the time of its first chapters. We are in front of it like in front of a new-born thought : he knows nothing yet, he knows nothing of what awaits the poor. “
Text : Sophocles. Translation : Evelyne de la Chenelière. Directed by : Serge Denoncourt. At Espace Go until February 17th.