“Nous avons essay\u00e9 de cr\u00e9er ce Carmen avec un \u00e9tage de miroir qui permettrait pour nous de continuellement renverser de haut en bas et qui rend le personnage plus complexe. L\u2019interpr\u00e9tation de notre version de Carmen vise \u00e0 mettre en lumi\u00e8re la fragilit\u00e9 de chaque personnage pour \u00e9viter que chacun d\u2019eux ne devienne des gagnants ou des perdants. Quand Julie, Maria, Hugo, Genevi\u00e8ve, Alexis et moi nous sommes rencontr\u00e9s avec toute l\u2019\u00e9quipe cr\u00e9atrice, nous avons essay\u00e9 de nous concentrer sur des images que, lorsque, juxtapos\u00e9es les unes sur les autres, cr\u00e9eraient un \u00e9merveillement.<\/p>\n
La langue de la v\u00e9rit\u00e9, sur sc\u00e8ne, peut de temps en temps rendre tout plus faux. Cr\u00e9er un miroir, un monde surr\u00e9aliste o\u00f9, en dirigeant le choeur et les chanteurs pour qu\u2019ils se d\u00e9placent peuvent cr\u00e9er des images qui peuvent \u00eatre plus vraies que la r\u00e9alit\u00e9 elle-m\u00eame : nous avons essay\u00e9 de d\u00e9terrer cette partition extraordinaire, cherchant les aspects plus cach\u00e9s.<\/p>\n
Cette mise en sc\u00e8ne a aussi \u00e9t\u00e9 pens\u00e9e sous une forme picturale, la lumi\u00e8re est entre autres d\u00e9finie par des coups de pinceau, utilisant quatre couleurs dominantes : jaune dans le premier acte, blanc dans le deuxi\u00e8me, suivi par le noir et le rouge. Avec Giovanna nous avons de nouveau essay\u00e9 de construire une chromaticit\u00e9, avec Hugo une sc\u00e9nographie pour faire que les lumi\u00e8res et les costumes prennent une m\u00eame direction, o\u00f9 les coups de pinceaux mettraient en \u00e9vidence les caprices d\u2019une fa\u00e7on illustr\u00e9e : nous voulons que ce soit l\u2019Espagne, mais nous ne devons pas n\u00e9cessairement le repr\u00e9senter sous tous les aspects. Ainsi oui, il y a ces portes qui nous rappellent du S\u00e9ville, il y a les sonorit\u00e9s et tout \u00e0 coup les costumes qui appartiennent \u00e0 un endroit mais qui se m\u00e9langent, une dimension qui nous rappelle le language des r\u00eaves. Nous avons essay\u00e9 de faire rejaillir certaines images depuis l\u2019inconscient et tout \u00e0 coup nous nous reconnaissons, parce que leur interpr\u00e9tation n\u2019est pas totalement directe ou vraie; Ils \u00e9mergent et ils disparaissent tout le temps, comme le poisson sous l\u2019eau, que vous ne pouvez pas voir, mais vous percevez leur pr\u00e9sence et leurs mouvements.”<\/p>\n
Daniele Finzi 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