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Alors Carcasse
Mariette Navarro
Actes du théâtre n° 61.[ imprimer ]
A body stands there, motionless. It’s Carcasse, a principle that is literary as well as theatrical and choreographic. Having found its identity and limits, the body opens out then suddenly withdraws again due to other people’s expectations that don’t suit him. A voice explores Carcasse, his body, his immobility, aspirations and defeats. Carcasse, a body whose gender is never defined, is a piece of the world through which air, words and images flow.

‘‘Carcasse is you and me. It’s not just a body, it’s a living entity that gropes around, wavers, sways, expands, withdraws and doubts. A bit like Henri Michaux, Mariette Navarro goes through Carcasse to examine the world. She stretches him out to the limits of the planet, giving him seismic and meteorological moods: ‘So the air inflates Carcasse and does as it likes in this territory he has invented.’ Then the author shrinks Carcasse back to human size, poised on the ‘threshold’ of the universe and matter, not quite daring to penetrate an era – hers – that feels threatening to her; indeed ‘several people are looking for a weak point and would gladly push Carcasse around,’ hampering his attempts at expansion.’’
Eléonore Susler, Le Temps (Switzerland), April 13, 2012

Mariette Navarro’s first opus is a work of dazzling poetic prose that pinpoints the outlines of our presence in the world. (…) Homing in on this whirlwind of questions, Mariette Navarro explores the body, ferreting out its limits, its skin, scrutinizing its organs, their fluids and flutterings; she zeroes in on what it is inside us that is made of flesh and heat, substance and impermanence, being and dying, and draws out that dizzying and subtly uncertain wavering buried deep inside us. (…)’’
Lucie Clair, Le Matricule des Anges, June 2011


First aired on France Culture radio, directed by Alexandre Plank, played by Bénédicte Cerutti, with music by Matthieu Gagelin (broadcast in October 2011).
Public Readings: by Denis Lavant for the 20th year of Lectures sous l’arbre (Chambon-sur-Lignon), in August 2011, then at the Comédie de Saint-Etienne (March 2012), at the Festival Rencontres à Lire de Dax (April 2012) and at the Festival Terres de Paroles in Normandy (July 2012); by Monica Budde at the Espace Eclair de Lausanne (May 2012); by Rémy Jacqmin for the Festival Les scènes déménagent in Fougères (August 2012).

Cheyne éditeur, Collection Grands Fonds.

Characters : 1 women - 1 men - Either one woman or one man.
Editions Cheyne

It’s just that several people are fidgeting and crowding around. But it’s a static, freezing day and they can push all they want from behind, Carcasse isn’t going to put one foot in front of the other that easily. They need to try another tack and change their plan because Carcasse is blocking things up, and they have to understand that it’s an irremediable stance, or else bring in someone to help. Carcasse would naturally roll up in a ball and wait for someone to clear the way and lead him off, offisdes, to the Carcasse locker room. But for now Carcasse can’t do any better, he just can’t. The tiniest movement would make him bump into someone else’s body moving faster and more powerfully, thinks Carcasse, who doesn’t want to risk a collision and wound his barrier now that it’s firm. And Carcasse always drops out of the race, because it’s not for him, and he doesn’t like sports anyway.
There are several others there too, in sync with their times, in flux, flowing along, draining everything that’s within their reach. And Carcasse flows along too, but it happens inside. Carcasse weighs down on his two feet with all his weight, while several of those around him are light, swirling around in the wind. Carcasse’s limbs all weigh him down and none tries to take flight. His arms hang down from his shoulders on each side rather than springing from them and sparking a movement, and even the tips of his fingers drag Carcasse down, drawing him toward the ground without ever falling, giving him the balance he needs from below. This is an era set in concrete, thinks Carcasse, a cement era made of sand and gravel; but out here on the edge of my times they’re expecting me to be more flexible, am I right?