The law of desire

La loi du désir

Photo: Marie-France Coallier The Duty
The creator, Félix-Antoine Boutin wanted a distribution where entrechoquerait a great diversity of ages and presences on the stage. For Anne-Marie Cadieux, the role of Petra was impossible to refuse.

After several creations, Félix-Antoine Boutin and his company Created In the Chamber are passed to another stage : turn directory. “I think I’m much more a director than an author, he admits. I wrote parts really to insert them into a scene… And I find it really interesting to take the imagination of another artist and try to understand that to make our own, the transgress to bring a novelty. “

Boutin comes from co-leading, with Sophie Cadieux, a magnificent Fanny and Alexander for the Theatre Denise-Pelletier. He planned for several years to tackle the bitter Tears of Petra Von Kant by Rainer Werner Fassbinder. He sees it as a dimension of ” very brutal, flamboyant and at the same time sophisticated enough “. A dosage only own the creator German. “It is a world apart, free, spontaneous. And that speaks of intimacy in a way that few authors have touched, in everything that is not beautiful, in the amorality. It is transgressive. “

The part of 1971 sets out the lightning lightning of Petra, a fashion designer success, for a young woman désargentée, whom she hired as a fashion model. A relationship tortuous, unfair, who will suffer this paradoxical figure, also dependent emotionally, that she is emancipated on the professional and economic.

A portrait that is impossible to deny for Anne-Marie Cadieux. “This is an extraordinary role for an actress, you can’t dream of anything better. A person quite casse-gueule, also, because she is narcissistic, excessive. Everything is excess in Fassbinder. It is very subversive. It is a universe full of digressions, flashes. It is in a camera that seems pretty realistic, but not at all, in fact. “

The bitter tears… the autopsy of a relationship through a narrative that is elliptical, with quick transitions, that reveals essentially ” the highlights, strong “. Without the construction of psychological or dramatic build-up, notes the interpreter. “The reports are excessive, to flower of skin. “Where the modernity of the writing.

Young, Anne-Marie Cadieux was a great admirer of the filmmaker (1945-1982) the Marriage of Maria Braun. It is said his work is largely autobiographical. “Petra, this is Fassbinder, she believes. He was putting his life in the scene. His life and his work are impossible to separate, because it was running all the time, and with his friends. It is a shooting star, a genius. He has made 40 films and 20 plays in 13 years. And he died at age 37 of an overdose. “She finds this urgency to live in the play written by Fassbinder in the mid-twenties. “In his writing, there is this : a jet, something dazzling, that it does not want to lose. It is like a roller coaster, this show. “

The room also provides the opportunity to (re)discover this important creator belonging to the generation critical of the Germans born after the nazi era, the aesthetic of which was much marked. “We feel the influence of Fassbinder, in particular, in the directors German contemporaries,” notes the actress.

See the policy in the intimate

Through these relations of power tyrannical, the piece — offered in a new translation in quebec, signed Gabriel Plant — examines the impact of the socio-political to the private sphere. “There’s always a currency exchange intimate in relationships with others,” explains Félix-Antoine Boutin. This is never free. For me, these are transactions intimate. And it’s part of a few of our systems, where we do not pay attention to the human. “

These relations of domination, where the characters are wrong, illustrate the struggle of the classes. But the painting is without manichaeism : “We never know who is the victim. “Petra, who professes at the beginning of beautiful theories on the freedom in love, sees all of his claims demolished as soon as it is dark in the passion. “The play really brings on the ravages of desire,” says Anne-Marie Cadieux. On this sexual drive that is not rational, that takes hold of you and you will dominate. This is a fascinating work. It is also difficult because without a moral. The piece expresses very freely that there are more ugly in [we]. […] Of the things we saw inside, but are rarely proven to be [publicly]. “

The piece really brings on the ravages of desire. On this sexual drive that is not rational, that takes hold of you and you will dominate. This is a fascinating work. It is also difficult because without a moral.

— Anne-Marie Cadieux

For Félix-Antoine Boutin, you’ll yet love the Petra in all its forms, because it is true. “There is much more to Petra than we think, even if one may judge it at first. This madness, she is in the us. “The two artists insist on the truth of the vision, devoid of romance, Fassbinder. “There is no hypocrisy in his writing. It is a real relationship and love, and in its farthest corner. It is fundamentally human. This is what is beautiful. “

The director seeks to find, in his show presented at the theatre Prospero, a balance to recreate these real-life relationships, these emotions raw, while avoiding the realism of everyday life. “We are in a universe that has a very theatrical, but at the same time very intimate. With lascénographe [Odile Gamache], we talked about the room-show. “

The shock of Cadieux

Friend, daughter, mother : the world of Petra Von Kant is entirely female. “It is rare that one sees on stage, a universe of women, which is not mythologized, perfect, but with a rather brutal world,” remarks Félix-Antoine Boutin. Without forgetting this assistant/servant with whom the designer shares his intimacy, and who let themselves bully by it. A dumb character, but omnipresent, enigmatic, therefore, that sometimes causes his eyes to the show. A challenge of “ambiguity” entrusted to Lise Castonguay.

The creator wanted a distribution where entrechoquerait a great diversity of ages and presences on the stage. In the role of the lover, Anne-Marie found her namesake Sophie Cadieux — also artistic advisor to the production, with whom she had already shared the stage in HA ha !… in 2011. “Both of them have their own energy, very strong and completely different, notes Boutin. Then it creates a kind of collision. For a director, it is sure that it is impressive. But it is exhilarating. “

The bitter tears of Petra Von Kant

Text : Rainer Werner Fassbinder. Translation : Frank Weigand. Adaptation : Gabriel Plant. Directed by : Félix-Antoine Boutin. With Anne-Marie Cadieux, Sophie Cadieux, Lise Castonguay, Florence Blan Mbaye, Marianne Dansereau, Patricia Nolin. A production Created In the Room. Theatre Prospero from 19 march to 6 April.

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