After the success of Volpone at the Théâtre de la Madeleine, Pierre-Alain Leleu and Nicolas Briançon invite you to discover the astonishing modernity of Sade at the Ciné 13 Théâtre since January 9, 2013. Nicolas Briançon has directed the play D.A.F Marquis de Sade, written and performed by Pierre-Alain Leleu, which takes us back to 1784. After six years in prison in Vincennes, the Marquis de Sade is transferred to the Bastille. He finds himself confronted by a rascal of a jailer, Lossinote, whose very sight reminds him of the kingdom of Lilliput in which he is forced to evolve. Our prisoner, always very proud of his caste, can’t bear to be ruled by a nameless, uneducated man, and provokes, with all his characteristic bad faith, repeated clashes. The first freedom being the freedom to say anything, to imagine anything, Sade invents a feminine presence, a contradictory mix of fantasies, virtues, perversions, historical realities and romantic fictions, an image of our man’s inner turmoil.
Provocation? Sincerity? Genuine perversion or a desire to shock the bourgeoisie? Where does this constant impression come from that Sade himself doesn’t take himself entirely seriously? As if his madness, his erotic delirium (like Céline’s anti-Semitism, like Léautaud’s misanthropy, like Antonin Artaud’s fury) were an outlet for his anguish, his solitude, his lucidity. I keep hearing, but perhaps it’s because I’m not a convinced “Sadian”, a distance, a sense of humor, a distance between the man Sade and his writings. And I like this distance, I like this hindsight and this humor. What remains, what is striking, is the solitude of this man. His anxieties and fears. His despair and his incredible intelligence. I found all this in Pierre-Alain Leleu’s adaptation. And that’s what I’d like to show: Not a glorification of sadism, but the solitude of a being. His disenchanted anarchism, his freedom and intelligence. His anxieties and fears. At the risk of being a little provocative, I’d say it’s the little boy Sade, who spends his time breaking his own toys, that interests me. He’s the one who appears to me through his delirium. The clash of a man who doesn’t understand the world, with a world that rejects and judges him.
History
1784. After six years in prison at Vincennes, the Marquis de SADE is transferred to the Bastille. He finds himself confronted by a rascal of a jailer, Lossinote, whose very sight reminds him of the kingdom of Lilliput in which he is forced to evolve. Our prisoner, always very proud of his caste, can’t bear to be ruled by a nameless, uneducated man, and provokes, with all his characteristic bad faith, repeated clashes.
The first freedom being the freedom to say anything, to imagine anything, SADE invents a feminine presence, a contradictory mix of fantasies, virtues, perversions, historical realities and romantic fictions, the image of our man’s inner turmoil. Half-Justine, half-Juliet, this apparition will enable him to lighten his prison sentence and express his ideas. For he has ideas… And about everything… On religion, on laws, on the death penalty, on suffering, on the family, on prison, etc…
Let’s let him have his say, for there can be no better introduction to “D.A.F. marquis de SADE” than the introduction to “120 Days of Sodom”:
“No doubt, many of the deviations you’re about to see painted will displease you, we know, but there will be a few that will get you so hot they’ll cost you cum, and that’s all we need. If we hadn’t said everything, analyzed everything, how could we have guessed what would suit you? It’s up to you to take it and leave the rest, without declaiming against the rest, just because it doesn’t have the talent to please you. Think that it will please others, and be a philosopher. Another will do the same, and little by little everything will have found its place.” D.A.F. de SADE
Magnificent performance by the actors, we spend a very pleasant moment. Special mention to Pierre-Alain LELEU for his exceptional performance and his accuracy, which plunges us back into the world of this complex character.
At Ciné 13 Théâtre, from January 9, 9:30 p.m.
Sundays at 5:30 p.m., Break: Monday-Tuesday
CINE 13 THEATRE, 1 avenue Junot 75018 Paris
Bookings: http://www.fnacspectacles.com/place-spectacle/manifestation/Theatre-contemporain-D-A-F–MARQUIS-DE-SADE-C13MS.htm
www.dafmarquisdesade.fr
Cette publication est également disponible en : Français (French)
