Le theatre d'eveil : motivations et formes d'expression chez rene de obaldia
Institution:
Université Marc Bloch (Strasbourg) (1971-2008)Disciplines:
Directors:
Abstract EN:
Indifferent to fashions and ideologies, rene de obaldia has succeeded in building up his own theatrical identity. For all his entertaining and dazzling verbal virtuosity and his unfailing humour and fatasy, the basically serious quality of his approach proceeds nevertheless from a deep anguish. Leading a fight of lucid immaturity against the oppressive forms of adult society, he manages to create, through playful shifts from one plane to another, a parallel world that reflects our own preoccupations. What he is actually aiming at is to arouse the audience from their sluggishness without ever claiming to educate them. Therefore, the seeming extravaganza becomes a testimony or even more : an act of faith. For the poet in obaldia also wants to share with him his own private refuges which happen to be as many new openings : from the metaphysical flights to the foetal nostalgia of which woman is a necessary - and sactified medium. This desire for spiritual communion implies, first and foremost, that perfect communication wanted by the playwright and supposedly achieved by his stage artists. According to their opinion, thoseplays still gain in power and effectiveness when watched or listenes to. A close analysis of a peculiar production or better still, the live meeting with the author himself, the director, the actors and the stage designer will allow a more accurate perception of this. . .
Abstract FR:
Loin des modes et des ideologies, rene de obaldia est parvenu a se forger une identite theatre singuliere. S'il amuse et eblouit d'abord par sa virtuosite verbale, son humour et sa fantaisie de tous les instants, l'enjeu de sa demarche, qui reste grave, procede d'une vie inquietude. Menant le combat de l'immaturite lucide contre les formes oppressives de la societe des adultes, il cree, par le jeu du decalage, un monde parallele revelateur du notre. Il s'agit pour lui, en fait, d'eveiller la conscience engourdie de son public sans toutefois pretendre l'eduquer. Des lors, l'apparente affabulation devient temoignage et au-dela, acte de foi. Car le poete qu'est obaldia souhaite aussi partager ses refuges qui s'averent autant d'ouvertures nouvelles : de l'elan metaphysique a la nostalgie foetale, dont la femme constitue le relais obligeet sacralise. Ce desir de communion spirituelle suppose uneparfaite communication prealable, voulue par le dramaturge et etablie, en principe, par ses interpretes. De l'avis de tous, il apparait que ses pieces gagnent en puissance a etre vues ou entendues. Et l'examen methodique d'un spectacle ou mieux encore, la rencontre avec l'auteur, le metteur en scene, les acteurs, le decorateur permettent de mieux saisir le phenomene en multipliant les points de vue. Ainsi l'etude trouve-t-elle son prolongement naturel dans une serie de trentecinq entretiens exclusifs ( obaldia compris ).