All you have to do is open the door to Pinter and you have gone into another world, our hidden side, the secret part of us, a place where dreams and insomnia join hands. Go see The Homecoming, which opens on the silence of a man reading a newspaper. In just a few scenes, this trompe-l’oeil will become a painting by Lucian Freud or Francis Bacon – ‘an island of solitude” says Luc Bondy – and this is done solely through the relationship between bodies, the cutting edge of spoken words, the weight of a violence that is compressed to the extreme. For this, you need actors who know how to produce the thousand and one nuances that go from vague allusion to precise threat, from almost banal insinuation to in-your-face confrontation. In order to approach the subtle Pinteresque chamber music, Bondy has called upon a translator who speaks all the dialects of human tension: Philippe Djian.
à paraître Le Retour d'Harold Pinter, traduit par Philippe Djian, Gallimard, octobre 2012.
Cast
creation
translation Philippe Djian
stage design Johannes Schuetz
costumes design Eva Dessecker
lights design Dominique Bruguière
production Odéon-Théâtre de l'Europe, Wiener Festwochen, Grand Théâtre de Luxembourg, Schauspielhaus – Zürich, MC2 Grenoble et Théâtre National de Bretagne.
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