A View from the Bridge

Eddie is a docker, and proud of it. He is a man who keeps his word. He has fought, his whole life, to keep his promise of bringing up Catherine, the niece of his wife Beatrice, and to guarantee a bright future for the young orphan. For years now, he has been bleeding himself dry in order to watch over her. Though perhaps a little over jealously. Eddie fails to see that she has become a woman. But what he does see, all too well, are the sideways glances that men now give her. For Eddie, the succession of days has remained, up until now, suspended in an eternal present. Everybody kept their unchanging places, adults played their role as adults and children did not grow up. As yet, nothing has troubled his near-paternal love. But this has not stopped Katie from coming of age, and from starting to dress in a way designed to please. And the moment when it will be her turn to experience the first tinges of desire is just around the corner...

The drama starts up with the fateful evening when Katie informs Eddie of her wish to begin earning a living. Thanks to her studies, paid for by Eddie, her salary as a junior stenographer will be greater than that of the docker who has brought her up. That same evening, Eddie agrees to house two illegal immigrants, Marco, quiet and thoughtful, and his brother Rodolpho, a singer. They are his wife’s cousins, and he offers them shelter out of family solidarity... From that moment on, all the elements of the drama are there. Its merciless story is related to us by Alfieri, the voice, witness and faithful reminder of Eddie Carbone’s destiny. Alfieri, of Italian birth but now an adopted American, finds himself torn between the values of his two mother countries, between the absolutisms of traditional codes of honour, and the need for compromise. He too is a man of his word, but above all he is a man of law. He stands on the bridge between two worlds and two eras. And between the stage, on which the episodes of the drama are played out, and the audience who are watching the play, at a distance from which the secret life of the Red Hook community is there for us to see in its true perspective.

A view from afar: the not uncommon story of humble immigrants in working-class New York during the 1950’s. It is almost a sociological enquiry into the difficulties of integration amongst Italian-American dockers, in the shadow of the colossal Brooklyn bridge. A view from the bridge: a tragedy as ancient as the conflict between law and justice, or between reality and desire. From this account of a few decisive days in the lives of Eddie Carbone and those around him, Arthur Miller summons up the stuff of unending intrigue.

Drawing upon the author’s every word, Ivo van Hove’s production brings out the work in all its sharpness by prompting the actors to go beyond the purely anecdotal in search of true intensity. Their confrontations take place in a pared-down, tri-frontal space, as timeless as the fate of which Alfieri is the chorus, and Eddie the protagonist. Van Hove’s vision of the play was one of last season’s highlights. Its success was such that a re-run was inevitable. The initial cast remains unchanged, with Charles Berling in the role of Eddie Carbone.

Berthier 17e
France

A View from the Bridge Vu du pont

04 january 04 february

by Arthur Miller

directed by Ivo van Hove

re-run. In French

with Nicolas Avinée, Charles Berling, Pierre Berriau, Frédéric Borie, Pauline Cheviller, Alain Fromager, Laurent Papot, Caroline Proust

Venue

Berthier 17e

Length

2h

Votre venue

Berthier 17e Access

Prices

from 8€ to 36€
More info

Booking online opens november 29th. At the booking office and by telephone from December 7th, 2016


Ses yeux étaient comme des tunnels.

Arthur Miller : Vu du pont, texte français Daniel Loayza

Eddie is a docker, and proud of it. He is a man who keeps his word. He has fought, his whole life, to keep his promise of bringing up Catherine, the niece of his wife Beatrice, and to guarantee a bright future for the young orphan. For years now, he has been bleeding himself dry in order to watch over her. Though perhaps a little over jealously. Eddie fails to see that she has become a woman. But what he does see, all too well, are the sideways glances that men now give her. For Eddie, the succession of days has remained, up until now, suspended in an eternal present. Everybody kept their unchanging places, adults played their role as adults and children did not grow up. As yet, nothing has troubled his near-paternal love. But this has not stopped Katie from coming of age, and from starting to dress in a way designed to please. And the moment when it will be her turn to experience the first tinges of desire is just around the corner...

The drama starts up with the fateful evening when Katie informs Eddie of her wish to begin earning a living. Thanks to her studies, paid for by Eddie, her salary as a junior stenographer will be greater than that of the docker who has brought her up. That same evening, Eddie agrees to house two illegal immigrants, Marco, quiet and thoughtful, and his brother Rodolpho, a singer. They are his wife’s cousins, and he offers them shelter out of family solidarity... From that moment on, all the elements of the drama are there. Its merciless story is related to us by Alfieri, the voice, witness and faithful reminder of Eddie Carbone’s destiny. Alfieri, of Italian birth but now an adopted American, finds himself torn between the values of his two mother countries, between the absolutisms of traditional codes of honour, and the need for compromise. He too is a man of his word, but above all he is a man of law. He stands on the bridge between two worlds and two eras. And between the stage, on which the episodes of the drama are played out, and the audience who are watching the play, at a distance from which the secret life of the Red Hook community is there for us to see in its true perspective.

A view from afar: the not uncommon story of humble immigrants in working-class New York during the 1950’s. It is almost a sociological enquiry into the difficulties of integration amongst Italian-American dockers, in the shadow of the colossal Brooklyn bridge. A view from the bridge: a tragedy as ancient as the conflict between law and justice, or between reality and desire. From this account of a few decisive days in the lives of Eddie Carbone and those around him, Arthur Miller summons up the stuff of unending intrigue.

Drawing upon the author’s every word, Ivo van Hove’s production brings out the work in all its sharpness by prompting the actors to go beyond the purely anecdotal in search of true intensity. Their confrontations take place in a pared-down, tri-frontal space, as timeless as the fate of which Alfieri is the chorus, and Eddie the protagonist. Van Hove’s vision of the play was one of last season’s highlights. Its success was such that a re-run was inevitable. The initial cast remains unchanged, with Charles Berling in the role of Eddie Carbone.


  • A View from the Bridge | photo © Thierry Depagne

    photo © Thierry Depagne

  • A View from the Bridge | photo © Thierry Depagne

    photo © Thierry Depagne

  • A View from the Bridge | photo © Thierry Depagne

    photo © Thierry Depagne

  • A View from the Bridge | photo © Thierry Depagne

    photo © Thierry Depagne

  • A View from the Bridge | photo © Thierry Depagne

    photo © Thierry Depagne

  • A View from the Bridge | photo © Thierry Depagne

    photo © Thierry Depagne

  • A View from the Bridge | photo © Thierry Depagne

    photo © Thierry Depagne

On Video

Credits

French translation Daniel Loayza
dramaturgy Bart van den Eynde
set design and lighting Jan Versweyveld
costumes An D’Huys
sound Tom Gibbons
collaborateurs artistiques à la mise en scène Jeff James, Vincent Huguet

production Odéon-Théâtre de l’Europe
coproduction Théâtre Liberté – Toulon
avec la participation artistique du Jeune théâtre national

création originale du Young Vic, Londres, le 4 avril 2014 (version anglaise)

Length 2 heures

la pièce est représentée par l’agence Drama-Suzanne Sarquier en accord avec l’agence ICM, Buddy Thomas à New York

Director

Ivo van Hove

Né en 1958 à Heist-op-den-Berg (Belgique), Ivo van Hove a commencé sa carrière en 1981-82 en créant ses propres pièces : Geruchten (Rumeurs) et Ziektekiemen (Germes).
De 1990 à 2000 il a dirigé le Zuidelijk Toneel d’Eindhoven, ainsi que le Holland Festival entre 1998 et 2004. Il prend la tête du Toneelgroep Amsterdam en 2001.
Il y met en scène, entre autres, Angels in America de Tony Kushner, Opening Night et Husbands de John Cassavetes, Rocco et ses frères de Luchino Visconti, Théorème de Pier Paolo Pasolini, Antonioni-project d’après Michelangelo Antonioni, Cris et chuchotements d’Ingmar Bergman, La voix humaine de Jean Cocteau, La trilogie de la villégiature de Carlo Goldoni, Les enfants du Soleil de Maxime Gorki.
Ivo van Hove a présenté des productions au Festival d’Édimbourg, à la Biennale de Venise, au Festival de Hollande, à Theater der Welt (Allemagne), aux Wiener Festwochen (Autriche), mais a aussi travaillé à Londres, au Canada, à Lisbonne, Paris, Vérone, Hanovre, Porto, au Caire, en Pologne, à New York... Il a également monté de nombreux opéras.
En 2010, il crée Le Misanthrope (Der Menschenfeind) de Molière à la Schaubühne de Berlin, spectacle présenté aux Ateliers Berthier de l’Odéon-Théâtre de l’Europe en mars 2012.
A View from the Bridge (Vu du pont) d’Arthur Miller, monté au Young Vic Theater de Londres le 4 avril 2014, lui a valu le Critics’ Circle Award 2015.
En 2015, Paris accueille Antigone de Sophocle avec Juliette Binoche (Théâtre de la Ville), puis la création aux Ateliers Berthier de Vu du pont. Il en reprend la version anglaise à Broadway, puis crée en novembre 2015 l’ultime projet de David Bowie : Lazarus, et revient en janvier 2016 au Théâtre de Chaillot avec Kings of War, d’après Shakespeare. Avec la troupe de la Comédie-Française, Ivo van Hove a été invité par le Festival d’Avignon à créer Les Damnés, d’après Visconti, à l’été 2016 dans la Cour d’honneur du Palais des Papes.

 

À écouter : l'émission hors-champ de France Culture. Laure Adler recevait Ivo van Hove le 16 juin 2016.

 

On Tour

DeSingel, Anvers

Monday February 13 2017 / 20:00
Tuesday February 14 2017 / 20:00
Wednesday February 15 2017 / 20:00
Thursday February 16 2017 / 20:00
Friday February 17 2017 / 20:00
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Théâtre Liberté, Toulon

Wednesday March 1 2017 / 20:30
Thursday March 2 2017 / 20:30
Friday March 3 2017 / 20:30
Saturday March 4 2017 / 20:30
Sunday March 5 2017 / 16:00
Tuesday March 7 2017 / 20:30
Wednesday March 8 2017 / 20:30
Thursday March 9 2017 / 20:30
Friday March 10 2017 / 20:30
Saturday March 11 2017 / 20:30
Sunday March 12 2017 / 16:00
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TNB, Rennes

Tuesday March 21 2017 / 20:00
Wednesday March 22 2017 / 20:00
Wednesday March 22 2017 / 20:00
Thursday March 23 2017 / 20:00
Friday March 24 2017 / 20:00
Saturday March 25 2017 / 20:00
Monday March 27 2017 / 20:00
Tuesday March 28 2017 / 20:00
Wednesday March 29 2017 / 20:00
Thursday March 30 2017 / 20:00
Friday March 31 2017 / 20:00
Saturday April 1 2017 / 14:30
Saturday April 1 2017 / 20:00
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Théâtre des Célestins (Radiant-Bellevue), Lyon

Tuesday April 11 2017 / 20:30
Wednesday April 12 2017 / 20:30
Thursday April 13 2017 / 20:30
Friday April 14 2017 / 20:30
Saturday April 15 2017 / 20:30
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Grand Théâtre du Luxembourg, Luxembourg

Thursday April 27 2017 / 20:00
Friday April 28 2017 / 20:00
Saturday April 29 2017 / 20:00
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Theater der Welt, Hambourg

Friday June 9 2017 / 20:00
Saturday June 10 2017 / 20:00
Sunday June 11 2017 / 17:00
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