“TANTO AMOR DESPERDIÇADO (PEINE D’AMOUR PERDUE)” from Shakespeare by Emmanuel Demarcy-Mota (France, Portugal)
By Stefano • May 18th, 2008 • Category: Agenda| June 20, 2008 9:30 pm | a | June 22, 2008 9:30 pm |
TANTO AMOR DESPERDIÇADO (PEINE D’AMOUR PERDUE)
from Love’s Labours Lost di William Shakespeare
directed by Emmanuel Demarcy-Mota
production Comédie de Reims (France), Teatro Dona Maria II of Lisbon (Portugal)
from 20th to 22nd June 9.30 pm
National First night
languages French, Portuguese (Italian supertitles)
durataion 120′
location: Maschio Angioino
actors Muriel Inès Amat, Vítor D’Andrade, Ana Das Chagas, Valérie Dashwood, Cláudio Da Silva, Nuno Gil, Sarah Karbasnikoff, Heitor Lourenço, Horàcio Manuel, Aurélie Meriel, Nelson Monforte, Miguel Moreira, Marco Paiva, Maria João Pinho, Elmano Sancho, Gustavo Vargas
director assistant Christophe Lemaire
second director assistant, French Olivier Le Borgne
second director assistant, Portuguese Amândio Pinheiro
light design Yves Collet
set-design collaborator and stage director Michel Brugière
compositor and musician Jefferson Lembeye
costume Corinne Baudelot
Portugaise translation Nuno Judice
French translation François Regnault
consultente letterario Marie-Amélie Robilliard
light technician Nicolas Bats
sound technician Sergio Henriques
light technician Feliciano Branco
light technician Irlando Ferreira
propman Ana Lourenço
wardrobe manifacture Séverine Gohier
Emmanuel Demarcy-Mota, a French-Portuguese director and artistic director of the Théâtre de la Ville de Paris, presents Peine d’amour perdue, where the actors bring the word of Shakespeare on stage in different languages: Portuguese and French.
Demarcy-Mota defines Shakespeare’s comedy as a display of challenge and seduction, where encounter and desire, fragility and violence of youthfulness, the craving for the absolute are all woven together. The king of Navarra, together with his three young prince friends, totally commits himself to study and decides to ban all temptations: just a little food, even less sleep, but most of all, no women. But
here comes the princess of France with three friends (her ladies-in waiting) to mess up all their plans. They are in charge of negotiating the lands of Aquitaine on behalf of the king of France. The four young men fall in love secretly with these ladies while trying hard not to break their vows. The Navarra region contemplated by Shakespeare is an ideal place, an unexplored territory of love where the sincere and laughable utopia of these four young men takes place. In this environment, Peine d’amour perdue performs a joyful and ironical face-to face between a world of men who think they are able to choose between abstinence and love, and a world of women capable of dragging these princes down to perjury through their feminine charm and sense of humour. Demarcy-Mota builds the space and time of the pièce around the word: given, taken back, exchanged, hushed-up, disguised, recognized, effective in re-
creating every time the world disclosed from Shakespeare’s text.
Born in 1970, Emmanuel Demarcy-Mota is the son of the French dramatist and director Richard Demarcy and of the Portuguese actress Teresa Mota. We wish to point out L’Histoire du soldat (1994) by Charles-Ferdinand Ramuz and Léonce et Léna (1996) by Georg Büchner among his first successful works. He was awarded in 1999 with the Premio Rivelazione Teatrale dell’anno for his mise-en-scene of Shakespeare’s Peine d’amour perdue. Since 2002 he has been the director of the Comédie de Reims, where he gave birth to a “common artistic creation” committed to awaken public interest in auteur theatre through adaptations such as Marcia Hesse by Fabrice Melquiot, Rhinocéros by Eugène Ionesco and Variations Brecht, taken from Bertolt Brecht’s work.
In September 2007 Demarcy-Mota was appointed director of the Théâtre de la Ville of Paris.
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