“Fanny and Alexander”: life is a dream

«Fanny et Alexandre»: la vie est un songe

Photo: Gunther Gamper
Insisting on the eminently theatrical adventure, the aesthetic bias of the designers is a significant understatement.

Together, Félix-Antoine Boutin and Sophie Cadieux seem to be ready to launch in paris the most daring. After having organized a Pajama Party for 50 people at Espace Go in 2014 and before rubbing Fassbinder, working to a replay of the bitter Tears of Petra von Kant at Prospero in march, the tandem, at this time at the théâtre Denise-Pelletier, his adaptation of Fanny and Alexander. From the feature film 3 hours directed by Ingmar Bergman in 1982, the two designers gave birth to a show of 1: 45.

“Anything can happen, everything is possible and probable. Time and space do not exist. On a background of reality insignificant, imagination embroiders and weaves new patterns. “This sentence from the preface of a Dream, a play by August Strindberg created in 1907, several times, directed by Bergman, is kind of the keystone of Fanny and Alexander.

Once the imagination is restless and however reckless of Alexander, the real takes on the tones, particularly dark, certainly, but also of larger proportions that nature, that art alone has the power to confer on the banality of everyday life, particularly in scrambling knowingly the border between truth and lies, the living and the dead.

Distribution flawless

Since the film gives to see the world through the eyes of Alexandre Boutin and Cadieux had the happy idea to entrust Gabriel Szabo, who embodies the child stage, a function of narrator. Therefore, it is in his words that we discover the Ekdahl : his grandmother Helena (Annette Guarantor), his mother Emily (Eve Pressault), his father Oscar (Steve Laplante), her sister Fanny (Rosalie Daoust) and her uncle, Gustav Adolf (Ariel Ifergan), not to mention Shift, good (Patricia Lariviere), Isak, an old friend of the family (Bourgeois) and Edvard, the terrible lutheran bishop (Renaud Lacelle-Bourdon). Within this distribution, without weak links, Bourgeois, and Ifergan glow-in particular, a component of the characters earthy.

Born in the theatre, the boy of ten years, alter ego of the Swedish filmmaker, is tormented by metaphysical questions. In quest of a meaning to death and suffering, he reveals what teeming under the appearances, gives to see that which is invisible, a universe that evokes Shakespeare as well as fairy tales.

Insisting on the eminently theatrical adventure, the aesthetic bias of the designers, Romain Fabre on the design, Julie Bass and Martin Labrecque’s lighting, is a significant understatement.

While the first and the last portion of the show captivate, it must be admitted that the central part, the one that happens in the house austere of the bishop, presents serious problems of rhythm, enough to undermine seriously the whole.

Fanny and Alexander

Text : Ingmar Bergman. Translation : Lucie Albertini and Carl Gustav Bjurström. Adapted and directed by : Félix-Antoine Boutin and Sophie Cadieux. At the théâtre Denise-Pelletier until 23 February.

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