Charles Reznikoff is an American poet of the last century, a major figure of poetic Objectivism, who advocates a poetry that leaves all speech to reality. “Poetry presents the object in order to arouse sensation. She must be very precise about the object and reluctant about emotion, “he says. Testimony, a recitative, is thus a collection of testimonies and judicial words, extracts of lawsuits that the poet has reworked but, in the only formatting, without altering the words.
Instantly, Henri Jules Julien heard for this text the voice of Vitya Ponomarev, accompanied by the grand piano of Sophie Agnel where triunet a mallet, billiard balls, etc. that make the strings vibrate with a heartbreaking tone. By eliminating almost any representation, the director “on” stage leaves the actor and the pianist alone, with microphone. Behind the reading, a whole line of crimes or threats, sometimes too elliptical to be clearly understood, stands before our eyes. The texts find their original orality, touched by the passage of the artist, the air takes care of these human cruelties and Sophie Agnel pulls from her piano sounds unsuspected of anxiety.
However, the vocal presence of Vitya Ponomarev is a little stifled by the violence of the piano, sometimes pushed too far, at the expense of harmony between the man and the instrument.
A show rather hard and still taking.