Dans la solitude des champs de coton by Bernard-Marie Koltès

By Bernard-Marie Koltès

« Si i un chien rencontre un chat – par hasard, ou tout simplement par probabilité, parce qu'il y a tant de chiens et de chats sur un même territoire qu'ils ne peuvent pas, à l. a. fin, ne pas se croiser ; si deux hommes, deux espèces contraires, sans histoire commune, sans langage familier, se trouvent par fatalité face à face – non pas dans l. a. foule ni en pleine lumière, vehicle l. a. foule et l. a. lumière dissimulent les visages et les natures, mais sur un terrain neutre et désert, plat, silencieux, où l'on se voit de loin, où l'on s'entend marcher, un lieu qui interdit l'indifférence, ou le détour, ou l. a. fuite ; lorsqu'ils s'arrêtent l'un en face de l'autre, il n'existe rien d'autre entre eux que de l'hostilité – qui n'est pas un sentiment, mais un acte, un acte d'ennemis, un acte de guerre sans motif. »
Bernard-Marie Koltès

Cette pièce a été créée en février 1987, au théâtre des Nanterre-Amandiers, dans une mise en scène de Patrice Chéreau, avec Laurent Mallet et Isaach de Bankolé, puis reprise fin 1987-début 1988, avec Laurent Mallet et Patrice Chéreau dans le rôle du broker. Une troisième model a été donnée en 1995-1996, à l. a. Manufacture des Œillets, avec Pascal Greggory et Patrice Chéreau.

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The second pair of hands—dainty and youthful—belongs to Viola (Marcia Manon), a “Painted Lady” who inveigles Charles Murdock into a brief, illicit relationship. She is on the opposite end of the spectrum from Sophy: She uses so much makeup and finery that her youthful beauty no longer appears natural. She is a consumer, but not a discriminating one. She leers and winks directly at the camera, suggesting her lower class, “vulgar” status. The third “Pair of Hands” is Juliet Raeburn (Florence Vidor), a fashionable New York dressmaker and the woman with whom Charles Murdock eventually falls in love when he meets her on a hunting trip.

On their arrival back at the London house, there is a shot of her sitting on the bed in the spare room of her son’s house, back to camera, foreshadowing sex scenes on this same bed later. The cool, fresh white in the shot echoes the soft colors in earlier sexless bed scenes with her husband, Toots, as if to remind us of what was lacking in that marriage. In his responses to May, on her return to her son’s house, Darren, parading a classic muscular manhood, shows from the start a sensitivity lacking in her children.

By extension, the film may provide an encouragement (or a warning) to “Victorian” mothers like Sophy: If they discipline their bodies with exercise programs and beauty products, they too can recuperate their youthful attractiveness. ” By the film’s conclusion, however, she has absorbed the precepts of modernity, finally recognizing not only that anyone can be younger and fresher (with the right products and effort), but also that everyone has a responsibility to cultivate youthfulness. When a system of physical culture and careful hygiene gradually allows her to recover a degree of her attractiveness and good humor, Sophy finally agrees to divorce Charles, who immediately marries Juliet.

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