An armchair for the orchestra-The site of the theatrical Parisian criticism "The witches of Salem, of Arthur Miller, staging and scenic version of Emmanuel Demarcy-Mota, Théâtre de la Ville-Espace Cardin<

© Jean-Louis Fernandez

ƒƒ Nicolas Brizault article

Salem witches were played for the first time in Broadway in 1953. Arthur Miller reçut une Antoinette Perry Award pour cette pièce où la fin du 17^e siècle fait rebondir les spectateurs médusés en plein milieu de la lutte contre le Maccarthysme.

Miller takes up all the strings of this terrible story, which took place in a small town in Massachusettsen 1692.Two little girls, 9 and 11 years old, are the starting point.They say they are inhabited by the demon, immersed in terrible convulsions, with two or three friends, then others, surprising contamination, of the fault first and perhaps, of the West Indian servant of one of thetwo, having taught them to converse with Satan ... Other "witches" will appear.Terrible trials will follow, around a thousand people will be condemned, 19 executed, other throws in prison, men and women, defenseless and without the money, or on the contrary in possession of large very coveted lands, chance, unhappy and innocent, chance,is not it ?As Michelet said in 1862, in the witch, not on Salem but on this same idea: “We found expressions expressly;they were invented pain.They were considered in mass, they were condemned on a word.»»

This piece uses this story as "vocabulary.»» Le véritable, profond sujet est le magma du Maccarthysme secouant les Etats-Unis dans les années 1950. Miller sera lui-même une sorcière, dénoncée en 1956 par son ami Elia Kazan, poussé vers ce geste immonde exactement pour les mêmes raisons que dans Les Sorcières de Salem : s’il ne « vendait»» personne, il serait accusé d’outrage à la commission et sa carrière foutue. Alors il en « dénonça»» douze, dont Miller.The Huac (House Committee on Un-American Activities) sought, defeated, pushed to give names, found the evil under each step, this terrifying communism, black monster that prowled everywhere and which Miller had approached.He was therefore, if not the devil in person, at least an incubated incubated to marry Marylin Monroe.Horror, misfortune, putrefaction !!!

Miller had indeed attended some meetings, signed here and there petitions.To make sure, he refused to give other names, the witch struggled!He was convicted of outrage in 1957, conviction canceled by the American Court of Appeal in 1958.

Emmanuel Demarcy-Mota as often, offers us a strong presentation of Miller's text.The danger is there, that of the 17th century as well as that of the 21st, yes, we are again in the middle of these filthy warlike arguments.The first annoying appearance then accepted, of a mobile phone, makes us seize all of this.Girls have become teenage girls here, or women who left almost this surprising era.All these actors advance in the text with sobriety, weight, presence.Salem witches push simple and fun madness to be replaced by convictions, death, fear, today. Toute cette simplicité de jeu nous donne l’impression de « lire»» ce texte fort de Miller.The beauty of the witch game takes us, anger is there, the questions rain.We leave the room a little stronger, pushed towards a contemporary reflection, a stronger attention yes, let us be on our guard to try to escape the unsightly follies of our time.

© Jean-Louis Fernandez

The witches of Salem, by Arthur Miller

Mise en scène & version scéniqueEmmanuel Demarcy-Mota

Assistant at the stagingchristophe Lemaire

2nd assistant at the staging, combed

ScénographieYves Collet & Emmanuel Demarcy-Mota

LumièresChristophe Lemaire & Yves Collet

Costumesfanny Brouste

Musicarman Méliès

Videomike Creation Guermyet

MAQUEILLECATHERINE Nicolas

Sonoreflavian creation Gaudon

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— Elke.c Mon Jul 29 04:27:13 +0000 2019

Christophe Cornut accessories

Assistant Lightsthomas Falinower

Assistant Costumesalix Descie-Read

Costumesalbane Costumes Cheneau, Margaux Ponsard

Sonnathan Chenaud Joffart assistant

Artistic advisorfrançois Regnault

Physical Training Dipla

Martine vocalmaryse work

French version of the TextFrançois Regnault, Julie Peigné, Christophe Lemaire

With Élodie Bouchez, Serge Maggiani, Sarah Karbasnikoff, Philippe Demarle, Sandra Faure, Jauris Casanova, Lucie Gallo, Jackee Toto, Marie-France Alvarez, Stéphane Krähenbühl, Éléonore Lenne, Gérald Maillet, Grace Seri, Charles-Roger Bour

Theater of the city-Space Cardin

1, avenue Gabriel

75008 Paris

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www.Theatredelaville-Paris.com

Metro lines 1, 8, 12: Concorde stop, exit n ° 7 avenue Gabrielmetro lines 1, 13: Champs-Elysées Clemenceaubus 24, 42, 52, 73, 84 and 94: Place de la Concorde