Nathalie Keelboat, actress, Prize of the City of Limoges, 2010 interpreter BOXES Reservations (11,12 and 13 March): 05 55 79 26 49
"I have known Marie-Noëlle Agniau at the Poets' Spring 2000: I had read texts of poets - including his own - the bar's Old Cheerleaders of La Baule in Limoges. That was when I created the literary magazine The Unspeakable border where I had retained some of his texts. At this time she gave me to read the voluminous manuscript of his account BOXES , breathtaking emotion, rage, poetry. At the same time, she gave the text to Michel Bruzat, theater Gateway , whom he liked immediately. The actor and Jean-Paul Daniel was planning to adapt to the scene, but left the area. Large Text Publishing have published a revised version, which referred also to the learning of writing.
I wanted my turn to try and put this text on stage and Michel Bruzat me proposed to do in theater Gateway, with the young actress (Conservatoire de Limoges) Nathalie Keelboat. The collective Wild Shores - who also likes to enjoy my work and that of Marie-Noëlle Agniau - has agreed to make an epilogue beautiful form of sound projection inspired by a photo of Marie-Noëlle child and one of his quotes. Finally, another great show of confidence, Jean-Pierre Simeon, artistic director of the Spring of poets who rose to the moment Philoctetes in Paris, gave the label National Spring poets BOXES. It must be said that publication, the literary critic praised the book.
For me, climbing BOXES represents a series of challenges: first, that of adaptation, because the book is much longer, without punctuation, and fun (as he thinks) the concrete work of the writing with the typewriter - that will be well on stage. The challenge is also to make the emotion without sinking or in the flatness or in hysteria. The clever and proposals of the actress could help me a lot. The aim is to suggest that history with multiple voices, beginning with those of heroin - Claire - at different ages: small, adolescent, young woman who can become emancipated from the literature and writing. Claire is struggling to confront reality and to others in the playground and in life. Her mother is pervasive, sometimes a little crazy. The father is back. Regularly, because the art of it, an officer must move to break with the habits and possible incipient love, learning to be happy alone. And then there's the tragedy of the little brother, Paul, who disappeared. How to accept the injury, how to live with grief, but also exceed it? The answer is that of poetry and perhaps philosophy ... The text is very poetic, sensitive, but sometimes very funny ... and, as in children's language, it sometimes jumps the rooster to the donkey. This text is designed as an odyssey, with reference to that of Homer and Odysseus Joyce. A reflection on the origins, too, real or imaginary, multiple Sicilian, Tunisian, Brittany ... maybe Jewish. The critic Philip Biget could say that it was "A language that knows no fear, nor the absolutism of childhood, or Women's requirement ... " and I think the other challenge is to understand that this is a feminist text (or female) to see for young girls, young women and mothers! " Lawrence Bourdelas
Glance
" Compendium of texts to read in one breath, Boxes confirms the breadth of literary talent Marie-Noëlle Agniau. Here we are immersed in the overflow of the head of a little girl who thinks too and pours everything she sees, smells and feels. One of the merits of this little book is to make us hear the voice of a child, but without the filter of adult she has become a pure voice. Text probably prior to the poems published elsewhere, Boxes said the pain of not loving, complex relationship with the mother, extreme attention to the habits, codes of conduct, the entourage. The purpose is served by a script worked and where the verb deconstructed shakes Page soundbites short and repetitive, in the tradition of Joyce and, more recently, a Tarkos or Prigent. "
Olivier Thuiller, Machine Leaves , CRL Limousin.
"Marie-Noëlle Agniau Boxes develops in writing that gives a great spontaneity, even if it is the fruit of a scholarly construction. An expression that sticks to the childish talk, and especially does the same genesis chaotic reverie (not only child). This results in an unrestrained prose, not avoiding any cock-and-l'âne, mocking the punctuation and syntax (...) The language itself is objectified and becomes the main interest of the book. Dru language (...) who is not afraid of anything, or the absolutism of childhood, nor the requirement of women (...) this language that advance all costs and awaken in us the desire to reconnect with random structure of memory, affect and thought, with the very nature of the fertile soil that lies within each of us and that invites us to abandon civilization. "
Philippe Biget, Wasteland No. 95.
"Marie-Noëlle Agniau has breath, an elegant density, with sometimes the appearance of extreme brutality and is a poet. Definitely. His pace takes us. (...) One day of drunkenness, Verlaine has broken its own box (boxes), where the jars were kept fetuses family ... "
Bourdelas Lawrence, The Inexpressible border 8.
0 comments:
Post a Comment