Hernani
If the hero Hernani gives his name to the work, it is the character of Doña Sol who truly bears the story: a free and obstinate woman, she embodies all those who weaken male power and old standards. Faced with her, blind men, selfish or prisoners of absurd loyalty: loyalty to a father, to a given word, to a desire for more burning power than that of being loved.
By adapting Hernani, Laurent Brethome composes a vibrant theatrical fresco and deploys all the epic and popular power of Victor Hugo’s work. Wishing to make the author’s revolutionary verse alive and accessible to all, he imagines a tighter version of the four central figures and highlights the feminist aspect of the piece.
True to the Hugolian vision that places the people at the heart of tragedy, Laurent Brethome wishes to engage actors and amateurs of the territory. Every evening, beside the quartet, fourteen amateurs play brigands, members of the court or shadows of the crypt, forming a choir that is moving and federative, a witness of fate that falls on the protagonists. Thus echo the voices of those who, in the shadows, observe and suffer power.
Intention
In my dream of staging, Hernani is above all an unbridled race towards a love that seeks to flourish, but that will never be able to completely. This race drives a rhythm: a rhythm in the game, in space, in the word. A living, organic word, which incarnates in a contemporary way through the deconstructed and revolutionary alexandrin of Victor Hugo. I think we can take the worm in his arms, without breaking the bones, or locking it in glass. A twisted worm is a living worm. That’s why I’m interested in Hugo’s verse. I dream of this staging as a masterly work, where the false leads us inexorably from the game to tragedy, from darkness to sublime.Laurent Brethome
More than Hernani, Hugo’s play should have been called Doña Sol as the feminine character appears as the neuralgic point of the play. It is not only because it is at the center of a triangulation of male desires, it is because it dares, in a highly patriarchal world, to affirm its desire, its will. Faced with this feminine, vibrant and passionate character, there are three men who obey equally powerful engines as their love feelings: Hernani is driven by revenge, Don Carlos by ambition and Don Ruy Gomez de Silva is attached to honour. Bringing the fable to a Spain less distant from us, the adaptation of Laurent Brethome tightens the room on this quartet, putting the tragic mechanics naked, but without giving up the Hugolian grandeur. To do this, he invites on stage amateurs, figures of an observer and accomplice people, who will bring to the theatre of the intimate a social and epic dimension. Catherine Ailloud Nicolas
Author: Victor Hugo
With: Fabien Albanese, Damien Avice, Anne Cressent, Philippe Sire and 14 amateur actorsAdaptation: Catherine Ailloud-Nicolas, Laurent Brethome, Clémence Labatut
Duration: 1h55
Rate: From 5 to 35 €
Reservation information : Any public from 14 years old
By adapting Hernani, Laurent Brethome composes a vibrant theatrical fresco and deploys all the epic and popular power of Victor Hugo’s work. Wishing to make the author’s revolutionary verse alive and accessible to all, he imagines a tighter version of the four central figures and highlights the feminist aspect of the piece.
True to the Hugolian vision that places the people at the heart of tragedy, Laurent Brethome wishes to engage actors and amateurs of the territory. Every evening, beside the quartet, fourteen amateurs play brigands, members of the court or shadows of the crypt, forming a choir that is moving and federative, a witness of fate that falls on the protagonists. Thus echo the voices of those who, in the shadows, observe and suffer power.
Intention
In my dream of staging, Hernani is above all an unbridled race towards a love that seeks to flourish, but that will never be able to completely. This race drives a rhythm: a rhythm in the game, in space, in the word. A living, organic word, which incarnates in a contemporary way through the deconstructed and revolutionary alexandrin of Victor Hugo. I think we can take the worm in his arms, without breaking the bones, or locking it in glass. A twisted worm is a living worm. That’s why I’m interested in Hugo’s verse. I dream of this staging as a masterly work, where the false leads us inexorably from the game to tragedy, from darkness to sublime.Laurent Brethome
More than Hernani, Hugo’s play should have been called Doña Sol as the feminine character appears as the neuralgic point of the play. It is not only because it is at the center of a triangulation of male desires, it is because it dares, in a highly patriarchal world, to affirm its desire, its will. Faced with this feminine, vibrant and passionate character, there are three men who obey equally powerful engines as their love feelings: Hernani is driven by revenge, Don Carlos by ambition and Don Ruy Gomez de Silva is attached to honour. Bringing the fable to a Spain less distant from us, the adaptation of Laurent Brethome tightens the room on this quartet, putting the tragic mechanics naked, but without giving up the Hugolian grandeur. To do this, he invites on stage amateurs, figures of an observer and accomplice people, who will bring to the theatre of the intimate a social and epic dimension. Catherine Ailloud Nicolas
Author: Victor Hugo
With: Fabien Albanese, Damien Avice, Anne Cressent, Philippe Sire and 14 amateur actorsAdaptation: Catherine Ailloud-Nicolas, Laurent Brethome, Clémence Labatut
Duration: 1h55
Rate: From 5 to 35 €
Reservation information : Any public from 14 years old