{"id":1081805,"date":"2025-04-01T23:41:45","date_gmt":"2025-04-02T03:41:45","guid":{"rendered":"https:\/\/myscena.org\/?p=1081805"},"modified":"2025-04-02T14:38:35","modified_gmt":"2025-04-02T18:38:35","slug":"festival-transameriques-hiroshima-mon-amour-en-opera","status":"publish","type":"post","link":"https:\/\/myscena.org\/fr\/nathalie-de-han\/festival-transameriques-hiroshima-mon-amour-en-opera\/","title":{"rendered":"Festival TransAm\u00e9riques : Hiroshima mon amour en op\u00e9ra"},"content":{"rendered":"<p class=\"has-drop-cap has-medium-font-size\"><em>H<\/em><i>iroshima mon amour<\/i> (1959) met en sc\u00e8ne la br\u00e8ve rencontre d\u2019une actrice fran\u00e7aise et d\u2019un ancien soldat japonais dont la famille a p\u00e9ri sous les bombes. Marguerite Duras et Alain Renais \u00e9voquaient l\u2019amour, la mort, la guerre et le souvenir. Dans l\u2019introduction du livre (1960) Duras \u00e9crit qu\u2019il s\u2019agit d\u2019une mati\u00e8re all\u00e9gorique, d\u2019un propos d\u2019op\u00e9ra et c\u2019est cette id\u00e9e que la compositrice et \u00e9crivaine australienne R\u00f3sa Lind a saisie pour proposer un op\u00e9ra onirique d&#8217;une heure vingt en cinq actes, destin\u00e9 \u00e0 \u00eatre jou\u00e9 par un ensemble de chambre.<\/p>\n<p>Christian Lapointe, auteur, metteur en sc\u00e8ne et directeur artistique de la compagnie Carte Blanche, s\u2019est empress\u00e9 d\u2019obtenir les droits d<i>\u2019Hiroshima mon amour <\/i>pour commencer \u00e0 \u00e9labo-rer la structure de l\u2019\u0153uvre. Il avait amorc\u00e9 en 2013 un dialogue avec l\u2019\u0153uvre de Duras dans<i> L\u2019homme Atlantique (<\/i>et<i> La maladie de la mort<\/i>). Les proc\u00e9d\u00e9s que l\u2019autrice empruntait sont devenus courants en th\u00e9\u00e2tre contemporain, les figures n\u2019\u00e9tant plus des personnages de fiction et les performeurs inventant en direct. Cette avant-garde avait s\u00e9duit le metteur en sc\u00e8ne.<\/p>\n<p>Proc\u00e9d\u00e9s m\u00e9tath\u00e9\u00e2traux, poup\u00e9es gigognes, d\u00e9placements de logique, langages artistiques\u2026 Christian Lapointe utilisera tous les syst\u00e8mes qu\u2019il a ch\u00e9ris ces 15 derni\u00e8res ann\u00e9es. En \u00e9cho \u00e0 la vision du cin\u00e9ma de Duras qui rejetait les approches commerciales, des images fixes du film seront travaill\u00e9es et le performeur Karl Lemieux fera en direct une performance d\u2019alt\u00e9ration sur pellicule. Les moyens utilis\u00e9s sur sc\u00e8ne \u00e9voqueront des machines guerri\u00e8res.<\/p>\n<h4>Une direction musicale unique<\/h4>\n<p>La combinaison de la codirection musicale par les artistes r\u00e9put\u00e9es Marie-Annick B\u00e9liveau, directrice artistique de Chants Libres depuis 2022, et la violoncelliste et codirectrice du Quatuor Bozzini Isabelle Bozzini est unique et R\u00f3sa Lind mesure sa chance. Pour cr\u00e9er l&#8217;univers sonore de l&#8217;\u0153uvre, elle a compos\u00e9 une partition pour trois chanteurs, un quatuor \u00e0 cordes, une fl\u00fbte, une clarinette, une harpe et des percussions mixtes. \u00c0 cela s&#8217;ajoutent des \u00e9l\u00e9ments d\u2019une bande sonore \u00e9lectroacoustique.<\/p>\n<p>L&#8217;ensemble des solistes virtuoses est compos\u00e9 de Yuki Isami (fl\u00fbte), Victor Albert (clarinette), Antoine Malette-Ch\u00e9nier (harpe) et David Therrien Brongo (percussion).<\/p>\n<p>La proposition de Lind construit un univers sonore \u00e0 l&#8217;int\u00e9rieur de l&#8217;univers narratif de l&#8217;\u0153uvre de Marguerite Duras. La musique et le son cherchent \u00e0 appartenir \u00e0 cet espace de souvenirs personnels, d&#8217;amour, de perte et de l\u2019histoire du monde. D\u2019apr\u00e8s la compositrice, les fronti\u00e8res entre les diff\u00e9rents moyens d&#8217;expression artistique s&#8217;estompent lorsqu&#8217;on travaille au plus pr\u00e8s de l&#8217;inspiration.<\/p>\n<p><i>Hiroshima mon amour <\/i>est un appel \u00e0 la r\u00e9conciliation entre les peuples. Dans le contexte actuel en mati\u00e8re de guerre et de paix, le sc\u00e9nario est une histoire pr\u00e9monitoire.<\/p>\n<blockquote><p>Hiroshima mon amour, un op\u00e9ra r\u00e9solument contemporain. Au Festival TransAm\u00e9riques, 27-29 mai. <a href=\"http:\/\/www.fta.ca\">www.fta.ca<\/a><\/p><\/blockquote>\n<p><iframe loading=\"lazy\"  id=\"_ytid_31675\"  width=\"702\" height=\"394\"  data-origwidth=\"702\" data-origheight=\"394\" src=\"https:\/\/www.youtube.com\/embed\/zjGdLZNAdRc?enablejsapi=1&#038;autoplay=0&#038;cc_load_policy=0&#038;cc_lang_pref=&#038;iv_load_policy=1&#038;loop=0&#038;rel=1&#038;fs=1&#038;playsinline=0&#038;autohide=2&#038;theme=dark&#038;color=red&#038;controls=1&#038;\" class=\"__youtube_prefs__  epyt-is-override  no-lazyload\" title=\"YouTube player\"  allow=\"fullscreen; accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen data-no-lazy=\"1\" data-skipgform_ajax_framebjll=\"\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Hiroshima mon amour (1959) met en sc\u00e8ne la br\u00e8ve rencontre d\u2019une actrice fran\u00e7aise et d\u2019un ancien soldat japonais dont la famille a p\u00e9ri sous les bombes. Marguerite Duras et Alain Renais \u00e9voquaient l\u2019amour, la mort, la guerre et le souvenir. Dans l\u2019introduction du livre (1960) Duras \u00e9crit qu\u2019il s\u2019agit d\u2019une mati\u00e8re all\u00e9gorique, d\u2019un propos d\u2019op\u00e9ra<\/p>\n<div class=\"read-more hi\"><a href=\"https:\/\/myscena.org\/fr\/nathalie-de-han\/festival-transameriques-hiroshima-mon-amour-en-opera\/\" title=\"Continuer\">Continuer<\/a><\/div>\n","protected":false},"author":2943,"featured_media":1081807,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"rating_form_position":"","rating_results_position":"","mr_structured_data_type":"","footnotes":""},"categories":[17288,399,401],"tags":[51421,51417,6176,61710,4182,61709,61712,10273,3286,61708,878,61707,61711],"class_list":{"0":"post-1081805","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-comedie-musicale","8":"category-opera-fr","9":"category-theatre-fr","10":"tag-carte-blanche","11":"tag-christian-lapointe","12":"tag-amour","13":"tag-appel-a-la-paix","14":"tag-creation","15":"tag-duras","16":"tag-festival-trans-ameriques-fr","17":"tag-hiroshima","18":"tag-memoire","19":"tag-musique-live","20":"tag-national","21":"tag-opera-contemporain","22":"tag-rosa-lind","23":"volume-volume-30","24":"section-articles-de-fond","25":"section-voix"},"featured_image_src":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/04\/featured-image5.jpg","blog_images":{"medium":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/04\/featured-image5-300x144.jpg","large":"https:\/\/myscena.org\/wp-content\/uploads\/2025\/04\/featured-image5.jpg"},"acf":[],"aioseo_notices":[],"ams_acf":[{"key":"volume","label":"Volume","value":[]},{"key":"number","label":"Number","value":[]},{"key":"group_select","label":"Group","value":""},{"key":"performer_1","label":"Performer 1","value":""},{"key":"performer_2","label":"Performer 2","value":""},{"key":"other_info","label":"Other info","value":""},{"key":"ink_amazon","label":"Ink Amazon","value":""},{"key":"archambault","label":"archambault link","value":""},{"key":"price","label":"Price","value":""},{"key":"source_url","label":"Source URL","value":""},{"key":"author_name","label":"Author","value":""},{"key":"editchoice","label":"Edit Choice","value":[]},{"key":"is_cover_story","label":"Is Cover Story","value":[]},{"key":"le_volume","label":"Le volume","value":[]},{"key":"numero","label":"Num\u00e9ro","value":[]}],"multi-rating":{"mr_rating_results":[]},"_links":{"self":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1081805"}],"collection":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/users\/2943"}],"replies":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/comments?post=1081805"}],"version-history":[{"count":0,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/posts\/1081805\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media\/1081807"}],"wp:attachment":[{"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/media?parent=1081805"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/categories?post=1081805"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/myscena.org\/fr\/wp-json\/wp\/v2\/tags?post=1081805"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}