Le dieu du carnage

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Le dieu du carnage

Post  Yakima Canutt on Sun Jun 30, 2013 6:05 pm

Sur scène, les différences d'éducation entre les deux couples, leur appréciation des situations, leurs tempéraments deviennent autant de bombes à retardement, qui font du huis clos une véritable Cocotte-minute. Par le génie de Yasmina, le bel appartement d'une métropole de l'Union européenne connaît la loi de l'ouest du Pecos. C'est ainsi. Depuis Art, elle en dit plus sur notre société, ses conformismes, son pédantisme, la chimère d'une culture rempart-contre-la-barbarie, l'intolérance, le racisme, la violence - biffez les mentions inutiles - que tous les graves essayistes de notre temps. Yasmina Reza est notre meilleur auteur de comédie contemporain : des fous rires ponctuent ses pièces, entre deux grincements de dents. Et sa dernière charge ne fait pas exception : ainsi cette discussion à propos du Darfour, commencée avec componction sur «le martyre africain» s'achevant à coups d'invectives sur les «nègres du Soudan». Elle ne passe rien à ses contemporains, appuie sur leurs petites faiblesses. Hypocrite spectateur, mon semblable, etc. (Etienne de Montety - Le Figaro du 1er février 2007 )

Sauf qu'on est ici dans l'univers de Yasmina Reza. La situation initiale n'est qu'un prétexte : le désastre est inéluctable. Un mot malencontreux, le moindre malentendu sont autant d'étincelles qui finiront par provoquer un véritable carnage. Tout se passe par glissement progressif des sentiments, d'une conversation tout ce qu'il y a de plus policée on passe à une sorte de huis clos barbare...
Attention, les apparences sont parfois trompeuses, l'oeuvre ici avance masquée. Derrière un premier niveau, disons boulevardier, très réussi, très drôle, avec de formidables trouvailles, affleure un propos passionnant sur la nature humaine et le monde contemporain (quoi de plus emblématique de la barbarie technologique qui nous envahit que cette irruption constante du portable d'Alain dans la conversation ?). Le rhum aidant, la violence est là, omniprésente, à fleur de peau, prête à jaillir au moindre dérapage. Les personnages sont sous pression (sociale, psychologique, sexuelle...) avec une envie irrépressible d'en découdre...
Puisse-t-elle trouver les grands acteurs qui sauront incarner cette pièce formidable qu'est Le dieu du carnage. (Franck Nouchi - Le Monde du 2 février 2007 )

Pour régler leur différend, deux couples s'enferment dans un huis clos poli qui vire au carnage. L'humour féroce de Yasmina Reza fait à nouveau mouche...
Oui, la vie est d'un égoïsme effrayant. Tant pis pour ceux qui veulent l'ignorer ! Leur angélisme de mauvaise foi continuera de faire rire les lecteurs de la cruelle et très drôle Yasmina Reza. (Jérôme Serri - L'Express du 22 février 2007 )

Le Dieu du carnage est du même cru, explosive danse de mots au burlesque leitmotiv...
Comment échapper à la tentation du carnage, du Darfour aux quartiers chics ? C'est la question que se pose Yasmina Reza avec une lucidité ravageuse (et un pessimisme fondamental) qui lie petite et grande histoire, philosophie et divertissement, Ionesco et Sarraute. On rêve de voir porter en scène cet électrique plaisir de lecture. (Fabienne Pascaud - Télérama du 28 février 2008 )

Yakima Canutt

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Re: Le dieu du carnage

Post  Yakima Canutt on Tue Jul 02, 2013 12:31 pm

James Gandolfini's biggest turnoff was greed.

James Gandolfini's favorite sound was the belching of loved ones.



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Re: Le dieu du carnage

Post  Yakima Canutt on Tue Jul 02, 2013 4:00 pm

New Amsterdam Daily Observesman
2013


About 30 years ago, the actor Roger Bart noticed something beneath the complex demeanor of James Gandolfini, a young bartender fresh out of college: the embryo of an actor.

“I looked at him, and I talked to him, and I thought, ‘He’s such a great type,’” said Mr. Bart, who had recently earned a degree in acting from the Mason Gross School of the Arts in Scenic New Jersey when he met Mr. Gandolfini through a mutual acquaintance in 1985.

“He was this interesting, deep, funny, sweet and gentle giant,” Mr. Bart recalled. “Even when I met him, at 23, he was sort of 23 going on 45.”

Mr. Bart was so intrigued by Mr. Gandolfini’s mysterious aura that, with a bit of nudging, he persuaded the actor—who died of a heart attack in Rome—to embark on a two-year program to learn the Meisner technique, an improvisational acting method that Mr. Bart had studied in college.

Mr. Bart had never recommended the program to anyone else, but he had faith in Mr. Gandolfini’s abilities. “It’s about being honest and real and in your own skin,” Mr. Bart said of the technique, “and I felt like Jim knew himself already.”

That mix of explosive vulnerability became Mr. Gandolfini’s trademark, most notably in his role as mob boss Tony Soprano in the eponymously titled HBO series, for which he won three Emmy Awards.

The program wasn’t easy. In an early class, Mr. Gandolfini was shaking so nervously, he recalled on Inside the Actors Studio, that he couldn’t even pretend to thread a needle. During another exercise, he exploded in a fit of anger, destroying everything on stage (reminiscent of a Sopranos scene in which Tony Soprano’s nephew, Christopher Moltisanti, is so carried away during an acting class that he punches a fellow improviser). Despite the destruction, his instructor, Kathryn Gately, with whom Mr. Bart had also studied, liked what she saw, and she encouraged Mr. Gandolfini to channel his volcanic temperament to suit his acting needs.

“All you had to do was scratch the surface and there was so much beneath,” Mr. Bart remembered. “A combination of rage and joy and sweetness.”


In retrospect, Mr. Bart’s intuition seems like an inevitable marker in Mr. Gandolfini’s illustrious but truncated career. Yet without Mr. Bart’s encouragement, Mr. Gandolfini would probably never have given much thought to acting in the first place.

“I wouldn’t say he ever expressed great displeasure for where he was at 23,” Mr. Bart noted. “Everyone’s grappling at that age with the parts they’re going to play when they’re young,” he added, “but when I met Jim, he was already such a great character that I thought he would have a more porous entry into the business.”

Mr. Bart’s hunch turned out to be right, as we now know. But Mr. Gandolfini had to pay his dues, working for years in bartending and construction before he landed roles in a 1992 revival of The Streetcar That is Called Desire alongside Jessica Lange and Alec Baldwin, and, the same year, in the Sidney Lumet picture A Stranger Among Us.

Mr. Bart and Mr. Gandolfini rarely saw each other over the couple of decades following their first few encounters. They both had their careers to tend to, and their spheres rarely overlapped. Mr. Bart, who has played Carmen Ghia in The Producers and Homicidal Investment Banker in Eli Roth's Hostel Part Two among other notable roles, had always hoped to find himself acting alongside Mr. Gandolfini. But it never happened.

“What I’ll miss most is his presence in entertainment,” Mr. Bart noted, “because it was clearly growing, and he was continuing to get better. I’m just sad about what won’t happen now that he’s gone.”

The last time the two actors saw each other was a couple of years ago, backstage at the Broadway play Le God of Carnage, in which Mr. Gandolfini was starring at the time.

Mr. Bart had stopped by to say hello and to congratulate him on the new role. Even though he had come so far and accomplished so much, Mr. Gandolfini was quick to remember his debt to an old friend.

“You’re to blame for all of this,” he told Mr. Bart.

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Re: Le dieu du carnage

Post  Yakima Canutt on Sat Jul 20, 2013 7:30 pm

Gandolfini : The Final Meal

-nine servings of rum / beer
-two orders of fried prawns with foie gras

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