Category Archives: 2017 King Lear (a tragic comedy)

King Lear (a tragic comedy)

« King … Lear (a tragic comedy) »

Vendredi 19 mai 2017
Théâtre de La Grange de Dorigny
1h30 / dès 12 ans
anglais (sur-titré en français)
10.- prix unique
horaire à préciser

Mise en scène
 Roelof Oveermeer
 Sarah-Jane Moloney

Distribution
 Ben Davis
 Rebecca Frey
 Vincent Laughery
 Sarah-Jane Moloney
 Roelof Overmeer
 Alisa Steinhauser
 Josefa Terribilini

Lumières
 Rebecca Frey
 Orson Gremaud

Musique
 Pascal Desarzens

 

Shakespeare’s great plays are like territories that, no matter how often they have been travelled, continue to offer new vistas, new directions of thought, new lines of emotion. This is surely because Shakespeare has willed us plays born of an extraordinarily fertile imagination and sensitivity miraculously capable of inspiring the imagination and sensitivity of those moved to translate (in the literal sense) his stories and poetry into their own worldview.

These “translators” are, of course, his audience, his happy but not so few spectators, actors, directors, composers, filmmakers, readers …

“Traduttori, traditori” ?

Plays are written to be staged, i.e. translated and therefore “betrayed”.  Not all playwrights accept this inevitability, but — perhaps more than the work of any other author — Shakespeare’s plays thrive in translation. They have always been and continue to be brought onto all kinds of “stages” — those of kabuki and musicals, film, television, opera, musical compositions … . To take only King Lear as an example, it suffices to watch Edward Bond’s Lear, Tadashi Suzuki’s Noh-Kabuki play, Tale of Lear, Kurasawa’s Ran, Godard’s King Lear, Kozintsev’s Korol Lir to see that Shakespeare’s creativity inspires creativity, provides, to an extraordinary degree, a springboard for perpetual rethinking.

The project King … Lear (a tragic comedy) grew out of a reading of the play which opened a door leading to the realisation not only that King Lear, though a “tragedy”, is not tragic, but moreover that “tragedy”, being a fiction, cannot be tragic. Only reality can be tragic. A “tragedy” is a fictional response to the tragic realities of the world. It is an emotional, reflective and collective response that hopes to help us become more perceptive. It is, in other words, a “comic” response.

King … Lear (a tragic comedy), then, hopes to contribute to furthering the play’s “comic” potential, its potential to help us “see”. Its leading lines will use the dark, “tragic” fable of King Lear in order to attain the play’s comic desire: to make the world lighter …