© Jean-Louis Fernandez


Masterful simulation of a megalomaniac by William Shakespeare

Created in November 2012

"There is a capable language of getting round the devil." Charles Lamb

The play raises a rather simple question: how is it that, in a corrupt world where everything turns for the worse, a "different" man rises, by the eloquence and the intensity of his verb? Richard denounces curses, chastises, enslaves, and murders his close relations. He uses all the subtleties of theatre: seduction, manipulation, arrangement, curse, and make of his ascension then its fall, a very entertaining show; a merciless, sarcastic and furious demonstration of the world’s mediocrity.

"Only what is unbearable is profoundly tragic, profoundly comic, essentially theatre. (...) The representation of Shakespeare's plays gave me the impression of making bearable the unbearable. It was a taming of anxiety." Eugene Ionesco

In France, we often tend to perform Shakespeare as we would play Marivaux. We chat … We chat … We say beautiful things. We admire the sharpness of spirit, the psychological depth of the characters and the originality of the intrigue, but we forget that Shakespeare was at first a poet of incandescent lyricism. The biggest genius of all theatre authors, of all time, is primarily so, for his poetic power. His theatrical genius remains founded in its poetic genius.

"In theatre, there is word: the word is the enemy; the word used as it was, meaning, never sung, never denied, never persecuted, never persecuted enough. What I mean to say is that we have ignored singing." Carmelo Bene

All my shows bear witness to the crisis of word, in a society where word is corrupt. The "Richard III" play came to our path in 2002, as Les Dramaticules was being founded. The loyalty shown by actors who follow me has enabled me to create, with them, a "acting style grammar", musical and choreographic, which has become the base of my work as a director. "Richard III", tragedy of the mystification, is an exciting playground for my linguistic experiment, for my taste of sequencing and my "fascination / aversion" for monsters of power.

On stage, theatrical artifices are claimed as accessories and as signs: unarmed stage, steel ground just like a metal mirror, walls of fluorescent lamps used as "scenographic" elements, staircase as a throne, benches for the actors who are not in play, costumes racks, microphones on tripods, crown, daggers …

Jérémie Le Louët