Winter at Central Works

A man and a woman is married, father, salesman, perhaps; her nothing is known except that she's drunk, idle, a little whore perhaps, they meet in a park in a hotel room then.

A love story, their life is turned upside down. A universe typical Norwegian author Jon Fosse, born in 1959, consecrated by numerous awards, and directed by Claude Regy in French, Jacques Lassalle or Denis Marleau. Jon Fosse, the theater is the most humane and most intense forms of art. A theater where the silence, where hesitation, time, space between words, where what is hinted at in the words, more than the words themselves, the poor human words, if mundane, is incredibly significant. A scene of tension and attention. The spectator reaches into his emotions, experiences before understanding, and the echoes aroused in him, deep, intense and overwhelming. And this awkward humanity that gives to recognize Jon Fosse, is both tragic course, but funny too.

This is Sophie Langevin which will give life to stage this winter, attracted by the play in which Jon Fosse confirms what an extraordinary labor of imperceptible it is in his writing to minimalist music tones, available in rehearsals and small variations. It will be remembered then how Sophie Langevin has succeeded in making visible all of subjacency I've never been to Baghdad and Abel Neves will be remembered how she beautifully controlled and highlighted the incredible surge report of the night just before the forests of Bernard-Marie Koltes.

This time, images - frozen, enlarged, animated, repeated - resonate with the viewer, like the words. Confirming that the text of Jon Fosse is an open score that everyone is required to complete.

"Jean-Louis Coulloc'h up a character touching, sensitive and creates an unusual special effect: the gentle men. Paris Match about Lady Chatterley

"Embodied by two actors staggering, Marina Hands and absolute grace, Jean-Louis Coulloc'h virility or magnified. The World about Lady Chatterley

"And then there's the Other, with whom Pierre Meunier sharing the stage. This magnificent giant blue eyes, that we would see Vulcan raise the stage at arms on his shoulders alone. Jean-Louis Coulloc'h - shadow at Claude Regy (Melancholia) and men on the raft - which, in his fascinating and graceful power, embodies the paradox of the show. The circle and bring the game to a circus origins. Release about the pile of Arnaud Meunier