{"id":2752,"date":"2023-02-21T22:14:52","date_gmt":"2023-02-21T21:14:52","guid":{"rendered":"https:\/\/theatreboto.com\/?page_id=2752"},"modified":"2025-11-02T12:33:33","modified_gmt":"2025-11-02T11:33:33","slug":"elixir-d-amour","status":"publish","type":"page","link":"https:\/\/theatreboto.com\/index.php\/elixir-d-amour\/","title":{"rendered":"L’Elixir d’amour"},"content":{"rendered":"
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L’ELIXIR D’AMOUR<\/h1>\n <\/div>\n <\/div>\n
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d’apr\u00e8s Frank Wedekind<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n

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\u00ab Lorsque, chez Wedekind, le contraste na\u00eet entre deux choses dont l’une est douloureuse, on obtient du tragi-comique. Si aucune n’est douloureuse, on obtient le gros comique de L’Elixir d’amour. \u00bb <\/h5>\n <\/div>\n <\/div>\n
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Alfred Kerr, Die Welt im Drama<\/em>, 1907<\/h5>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n
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L’Elixir d’amour<\/h2>\n <\/div>\n <\/div>\n
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Photo : Mirella Malaguti<\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n

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Aux environs de Saint-P\u00e9tersbourg, un prince faussement riche \u00e9poux d’une fausse princesse, que courtise un faux valet, ordonne \u00e0 un faux pr\u00e9cepteur de pr\u00e9parer un faux \u00e9lixir, pour tromper le c\u0153ur faussement intr\u00e9pide\n d’une comtesse qui le m\u00e9prise vraiment. C’est la d\u00e9mesure de trop : sans le vouloir, le prince Rogojine va d\u00e9chirer le voile que tous avaient pudiquement jet\u00e9 sur la nullit\u00e9 de leur existence.<\/p>\n

Par cette \u00ab bouffonnerie en trois actes \u00bb, Wedekind exprime toute son admiration pour le cirque – parmi les personnages, on trouve une ancienne trap\u00e9ziste de chez Barnum, une \u00e9cuy\u00e8re en herbe et un acrobate dresseur\n de chevaux, de tigres du Bengale et de cochons -, dont il tire une curieuse \u00e9thique de l’\u00e9lasticit\u00e9 :<\/p>\n

\u00ab C\u2019est ce qui s\u2019apprend au cirque, vois-tu. Un saut \u00e9nergique et, quand le pied touche terre, une gracieuse r\u00e9v\u00e9rence pour ne pas tomber sur le nez. Chacun de nous est une fois tomb\u00e9 dans les t\u00e9n\u00e8bres et dans la nuit, mais \u00e0 qui manque l\u2019\u00e9lasticit\u00e9 il ne restera que d\u2019\u00eatre pi\u00e9tin\u00e9 dans l\u2019herbe par la meute hurlante, glapissante, impitoyable. \u00bb (Schwigerling, Acte I, sc\u00e8ne 13)<\/em><\/p>\n

Dans une soci\u00e9t\u00e9 marqu\u00e9e par l\u2019assignation ontologique et sociale des individus, la r\u00e9surgence de crispations r\u00e9actionnaires et le pl\u00e9biscite politique de la r\u00e9signation pour seule consolation, l’\u00e9lasticit\u00e9 se pr\u00e9sente comme un recours au d\u00e9terminisme. \u00ab Il n\u2019y a qu\u2019un seul moyen d\u2019avoir trouv\u00e9 sa place, c\u2019est d\u2019\u00eatre arriv\u00e9 au point d\u2019o\u00f9 l\u2019on ne peut plus bouger \u00bb, \u00e9crivait Paul Claudel.<\/span><\/p>\n

\u00c0 cet immobilisme, nous proposons un rem\u00e8de : <\/span>L\u2019Elixir d\u2019amour<\/em>\n .<\/span>\n <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n

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Mise en sc\u00e8ne<\/h3>\n <\/div>\n <\/div>\n
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Wedekind a \u00e9crit L\u2019Elixir d\u2019Amour<\/em> \u00e0 Paris en 1892.<\/p>\n

Saint-P\u00e9tersbourg est alors la capitale de l\u2019Empire Russe ; dix ans plus t\u00f4t, le tsar Alexandre II a \u00e9t\u00e9 assassin\u00e9 par un groupe de socialistes r\u00e9volutionnaires, la Narodna\u00efa Volia<\/em> (\u00ab Volont\u00e9 du Peuple \u00bb<\/em>).\n Depuis, le nouveau tsar Alexandre III m\u00e8ne une politique anti-r\u00e9formiste et s\u2019attache \u00e0 renforcer le pouvoir en restreignant les libert\u00e9s et en r\u00e9primant f\u00e9rocement les oppositions. Un climat sulfureux, qui pr\u00e9figure\n la R\u00e9volution de 1917, s\u2019installe.<\/p>\n

Comme dans une s\u00e9rie de miroirs, ce climat se refl\u00e8te dans le spectacle par une suite de m\u00e9tonymies imbriqu\u00e9es. La sc\u00e9nographie est \u00e0 l’image de Rogojine, Rogojine \u00e0 l\u2019image de la capitale, et la capitale de la\n situation politique russe. La sc\u00e9nographie, masquant sous la pompe de tissus chatoyants la froideur des mat\u00e9riaux de construction, est la miniature de ces forces en tension.<\/p>\n

Le jeu de dupes se poursuit dans la dramaturgie des costumes et dans le dessin des autres personnages, dont la dualit\u00e9 pr\u00eate \u00e0 eux aussi les traits de Saint-P\u00e9tersbourg, cit\u00e9 nouvelle, \u00ab \u00e9merveillement et prodige\n du pays des nuits blanches issue des for\u00eats obscures, des profondeurs du mar\u00e9cage \u00bb (Pouchkine, Le Cavalier de bronze<\/em>).<\/p>\n

Il se retrouve, enfin, dans la dialectique du d\u00e9sir ; dans la fa\u00e7on dont le d\u00e9sir obs\u00e8de et obstine le prince, jusqu’\u00e0 la folie, devant l’in\u00e9luctable effondrement de son pouvoir. <\/p>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n <\/div>\n

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L’ELIXIR D’AMOUR d’apr\u00e8s Frank Wedekind \u00ab Lorsque, chez Wedekind, le contraste na\u00eet entre deux choses dont l’une est douloureuse, on obtient du tragi-comique. Si aucune n’est douloureuse, on obtient le gros comique de L’Elixir d’amour. \u00bb  Alfred Kerr, Die Welt im Drama, 1907 L’Elixir d’amour Photo : Mirella Malaguti Aux environs de Saint-P\u00e9tersbourg, un prince […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width-page.php","meta":{"footnotes":""},"class_list":["post-2752","page","type-page","status-publish","hentry"],"yoast_head":"\nL'Elixir d'amour - BOTO<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theatreboto.com\/index.php\/elixir-d-amour\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"L'Elixir d'amour - BOTO\" \/>\n<meta property=\"og:description\" content=\"L’ELIXIR D’AMOUR d’apr\u00e8s Frank Wedekind \u00ab Lorsque, chez Wedekind, le contraste na\u00eet entre deux choses dont l’une est douloureuse, on obtient du tragi-comique. 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