amerika + aux armes citoyens
L-Amerika
U bl-Ingliz din ghax hadt buzz nikteb bloggata bl-Ingliz (wara li kont ili iktar minn sena ma nikteb xi haga hekk b'din il-lingwa) l-ahhar darba.
Bil-bajd...
Aux armes citoyens, formez vos bataillons...
U bl-Ingliz din ghax hadt buzz nikteb bloggata bl-Ingliz (wara li kont ili iktar minn sena ma nikteb xi haga hekk b'din il-lingwa) l-ahhar darba.
Dans Amerika, le quotidien d’une famille est subitement confronté au surnaturel. Une force maléfique semble s’être infiltrée dans le foyer, provoquant la terreur chez ses occupants.
Constat poétique de l’après 11 septembre, Amerika cristallise les mécanismes de survie de notre monde. Car en consacrant le retour en force du réel et de l’angoisse, nine eleven a également mis le feu aux poudres des imaginaires individuels et collectifs.
We checked out a theatre piece called Amerika at the Halles de Schaerbeek yesterday. Very experimental stuff featuring a sheriff who sleeps in a kennel, a boy in a gorilla costume and a dwarf who (presumably) allegorised and externalised evil. I think it was a success insofar as the producer (Claude Schultz) wanted to create this piece partly as an homage to a certain imaginary America constructed by H.P. Lovecraft, Edgar Allen Poe and Alfred Hitchcock - the calm in the play was never free of a very quiet, menacing sort of Lovecraftian tension. As far as narrative goes there wasn't much to follow. I strongly agree with this write-up in Tuesday's Le Soir, but don't really agree with their conclusions. Granted, there were a few hiccups but in general the play worked very well indeed.
Oh, and if anyone thinks a rapidly balding, overwrought portly middle-aged man in a shirt and tie can't be scary they'll be proven wrong; the moment main actor Lou Castel (a veteran of several Wenders and Fassbinder films) angrily murmurs or, even more disconcertingly, comes close to the spectators and homicidally screams something at us the irreality of the piece is suddenly transformed into something uncomfortably real and disturbingly physical.
As Anita said 15 minutes into the play "mhux qed nifhem xejn imma qed toghgobni hafna". No actual storyline then, but the impending feeling of an emotional implosion within the nuclear family doesn't need a linear script to be felt or understood.
Oh, and if anyone thinks a rapidly balding, overwrought portly middle-aged man in a shirt and tie can't be scary they'll be proven wrong; the moment main actor Lou Castel (a veteran of several Wenders and Fassbinder films) angrily murmurs or, even more disconcertingly, comes close to the spectators and homicidally screams something at us the irreality of the piece is suddenly transformed into something uncomfortably real and disturbingly physical.
As Anita said 15 minutes into the play "mhux qed nifhem xejn imma qed toghgobni hafna". No actual storyline then, but the impending feeling of an emotional implosion within the nuclear family doesn't need a linear script to be felt or understood.
Bil-bajd...
Aux armes citoyens, formez vos bataillons...