one of the most repulsive scenes of Opponent This is when Jean-Claude Romand kills his wife, his two children, and his parents within twenty-four hours. That was January 10, 1993, a Sunday night. This man, turned into a methodical killer by the cowardice of his youth, is sitting on the sofa in his bourgeois home and watching a 180-minute video, where chaotic images follow one another. Upstairs, his family lies dead for hours while he lets the hours pass by in the living room and fragments of programs he recorded from the TV that he captured via s…
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one of the most repulsive scenes of Opponent This is when Jean-Claude Romand kills his wife, his two children, and his parents within twenty-four hours. That was January 10, 1993, a Sunday night. This man, turned into a methodical killer by the cowardice of his youth, is sitting on the sofa in his bourgeois home and watching a 180-minute video, where chaotic images follow one another. Upstairs, his family lies dead for hours while he spends hours in the living room watching bits and pieces of the programs he recorded from the television, which followed them each other via satellite. This is one of the scenes in the final volume of Emmanuel Carré’s book. Thus begins the stage adaptation of the novel (rival, in Rome by March 19) directed by Julio Manrique. Carles Martínez, who melts his voice, body and face into psychopathic softness, is in front of the television while the lights in the room have not yet turned off. The action begins with the entrance on stage of Pere Arquillué, a virtuoso, a Carrère who dresses like the author and who during the two hours remains a brilliant work, will appear with other characters who communicate with Romand. .
When the novel was published on January 31, 2000, Emmanuel Carré did not highlight a case that had already shaken French public opinion. The most relevant aspect of his investigation was not his attendance at the trial, nor was it almost the fact that he had established contact with the imprisoned criminal. The bottom line is that he had discovered a formula that was going to change the paradigm of non-fiction writing to give fresh literary ideas. learning from cold blooded Truman Capote and Journalist and Assassin by Janet Malcolm a russian novel Delve into the moral ambition of yourself and the protagonist, to go beyond those masters true Crime, Two years after the editorial success, the first edition hit the big screen. A stage adaptation was released in France in 2016. The work, according to one adapter, was intended to show Carré’s exploration of the point of view, rather than a reconstruction of the event. The director, who also acted as a judge, judged everyone involved. the killer, but also the people around him and Carrère himself.
The adaptation by Marc Artigau, Cristina Genbet and Manrique, premiered at the last Temporada Alta festival, is a remarkable translation of the text on stage, with the sole exception of a few seconds that seek the audience’s smile and desolation aside the thought. Did. The first sentences spoken by Arquillué are the first in the book and the curtain falls with words that close Carré’s story. ,Wag thinks writing this story can only be a crime or a prayer, What changes here with the change of language? What the viewer now discovers, in addition to what Romand prayed in his final statement, is an incredible biographical process that created a kind of transformation. incel [célibe involuntario] As sweet as a devilry. Or precisely diabolical because the sweet fake goodness was eating away at his humanity. To achieve this effect, the tone of voice used by Martínez is important, the gestures of a repressed adult, and especially the close-ups of Romand’s face that can be seen on large screens placed on the stage. You see something that could not be seen in the book. An agonizing agony that is spontaneous, reinforced by nocturnal images of a forest and which is an allegory for the labyrinth of his conscience.
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