Le Début de l'A.

The beginning of A. troubles me, because Pascal Rambert provokes theater on the terrain of reality.
I believe that a fiction that is born and loses itself in reality to the point of no longer allowing the distinction between true and false, destructures our link to reality and perhaps our relationship to theater. The beginning of A. gives me the means to delve elsewhere into the frontier, into the workings of true-false resemblance. This axis is essential to my work.

I don't want to forget. Neither my wounds, nor my joys in love.
Nor lack, nor absence, nor separation.
Le Début de l'A. tells of separation.
Pascal Rambert distances his characters not only geographically, but also in dramatic form, since there is little or no dialogue to speak of. Speech has a strange status, akin to the inner voice.
Even when there is dialogue, it is written that the lovers are not together. They exchange thoughts rather than words.
They are each, one, separated. Filled with the lack of the other.
Separating the lovers is a formidable dramatic spring to tell the story of this impossibility of being one.