His dream was to go see this work to the provocative title

In the lushness of the Elizabethan theatre, in a time where the authors competed in bloody violence and passing prohibitions, Shakespeare dominated easily rivals but some of his colleagues escaped fierce trap of posterity. Including John Ford, it does not confondra with the homonymous filmmaker and which remain a tragedy regularly played, "damage that she is a whore." This flamboyant piece story of the love of a sister and a brother, and the scandal causes this incestuous relationship in an aristocratic Italy. Director Yves Beaunesne gives a beautiful vision, played by Fany Mary, Laurent Poitrenaux and manual Vallade, who arrives in the Paris region after having presented in several cities last year. Geometric and stripped, scene fever game, infinitely refined expression of savagery. Show proves us that Yves Beaunesne is well one of our great men of theatre!

Noted performances

He imposed very quickly, as soon as his first staging in 1995. It was "A month in the country", of Turgenev, which won him the award of the Union of the criticism. Then, there were many others noticed and applauded performances: "The awakening of spring", of Wedekind, "Yvonne, Princess of Burgundy", Gombrowicz, a wonderful "Princess Maleine" of Maeterlinck, who spent by hill and other major theatres... Now, he is constantly developing this John Ford exhibit which is for him a Trinity of sex, blood and the sacred"."

This text the haunted for a long time. Very young, he had seen a number of "The front" devoted to the tragedy of Ford at the time where Luchino Visconti the rode to Paris and headed Romy Schneider in the role of the incestuous sister. His dream was to go see this work to the provocative title. This is done, superbly. Second, it will move to Claudel because it will stage "The sharing of noon" at the Comédie-Française next year, then in 2008, "The Exchange" at the Hill.

The troubled air, the eyes of worried dark green, Beaunesne seeks its words slowly and spoke quickly, in a race to the formula to the gesture, the most just relationship. Belgian, is passed by the Institute of Brussels (Insass) and the Conservatoire de Paris. He was first actor, he even turned in films of Bertrand Blier and Eric Rochant. "In the theatre, I was a fairly bad actor who felt very imaginative to the other side of the plateau", he says. That is why he spent on the other side.

Passion for raw texts

Today, it severely judge novice Director that he was: "my first staged, I was too radical. The troupe took me as I was! But the essence is in the waste, in beyond if it goes too fast. How to request a player to focus on its areas of shadow if it is still in the light I love the doubt, the obscure, the contradiction which I built my education at the high school of theatre of Lausanne, which I was the founding Director and I leave in a few days to return to the difficult life of company Chief. What is constantly in my performances, in addition to this taste of doubt, the passion of the texts are raw (I prefer the first versions, imperfect, with gaps of life), working with artists from other disciplines and participation in the writing of the text when it comes to translation. I also discovered that I regularly dealt with the theme of a sacrificed girl. Why I do explain me not!

The theme of women, femininity pursues in any case. In his conversation he alleged that in the world and the theatre to be too masculine to Antonin Artaud had a too male point of view on "damage that she is a whore!" It will undoubtedly provide women in Claudel sensitivity when he will lead Marina Hands in "Sharing midi". For the time being, he defines his style as "the concern of a theatre of avant-garde founding texts", is that modern in the company of the classics and résolvant, show after show, this paradoxical equation.