Les Paravents (Screens): UP

Les Paravents, text by Jean Genet and directed by Frédérich Fisbach.
Théâtre Municipale
(09 juillet 2007, 17h00)

The performance consisted of a myriad of media to convey a play by Genet which features 96 characters. Fisbach's version featured puppets (des marionnettes), three live actors in costume, and two actors (in matching grey uniforms and stage mikes) who provided voice-overs for the puppets. The puppeteers (des marionnettistes) would later infiltrate the performance becoming actors themselves rather than mysterious figures in black. There were video clips and images projected on SCREENS as well as different stage props which acted as screens when they could simply be a stage. There were, of course, the very screens themselves--think of shoji screens that you may see in a japanese home...

Speaking of Japan, Le Théâtre de marionnettes Youkiza from Tokyo were amplified the personnages on stage using fabulous puppets, and lending their talents as actors for this play.

The play, written by Jean Genet, is set during the Algerian War (1954-1962). It looks like things really fell apart for the French during that time, because just prior to this conflict they were extricating themselves from a quite volatile Vietnam.

Genet does more than hint at imperialism and the struggle for the colonized to free themselves of their foreign oppressors. He covers the major themes of colonization, which, not surprisingly mirror actions taken today by certain governments around the world. (I just don't get it. Why does this continue when we know what it does on all sides? Is it really greed? And if so, why can't we stop it?)

Fisbach's presentation was subtle. It was a feast for the eyes. I was in the highest balcony and was most pleased when, as I was ascending to take my seat, an usher provided me with binoculars! I watched part of the 4 hour play (20 minute intermission included) with my binoculars, and this was more to see the painted faces of the puppets. The strings disappeared, and it was as if they were truly speaking--that's how impressive the "vociféristes" (French word invented for the actors providing the voice overs).

The puppets stole the show. I barely paid attention to the human actors playing The Mother, Saîd and Leïla. Except that Leïla, played by a man, and wearing a cagoule, see previous post, stood out because of the strength or timbre of her voice and her head covering. I was paying so much attention to the puppets, I missed the fact that Leïla was pleasuring herself in one of the scenes.

The powerful, yet subtle poetry of the play was in the way, as the evening progressed, the puppeteers began to lose more of their invisibility. They slowly took on life as their puppet characters died. I was struck by how I felt, when after a puppet character was killed, its puppeteer gently let go of the strings that managed it, laying it on the ground next to the lifeless figure. At one point, these puppeteers lent their actual voices to characters in the play, and their Japanese accented French lent to the feeling of disconnectedness to French culture which Algerians may have experienced...Sorry, my thoughts...

In all, I loved the performance. I think Kate's plays and 8th grade curriculum were crucial to me focusing on the puppets in the performance. Kate, I really loved the play on voices--each puppet was given a distinct voice and the vociféristes were adept in keeping each voice distinct and recognizable, never faltering in their interpretation of their puppet character.

The audience did not seem shocked our outraged. There was a certain complicity. As a result, did the effect that Artaud theorize and Genet expect, the shock treatment they wanted theater to provide, happen? If not participating in an NEH seminar, are people's lives transformed after seeing this play? In what way?

These are the questions I want to examine.