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Le Nom

+ d'infos sur le texte de Jon Fosse traduit par Terje Sinding
mise en scène Christian Colin

: Crossed visions

Jon Fosse / Christian Colin

This small space that I fill and that I even see damaged
within the infinite immensity of the spaces I don't know and which don't know me,
I am afraid and surprised to see myself here rather than there,
for there is absolutely no reason for my being here rather than there,
for it being now rather than then Blaise Pascal, Pensées



Crossed visions: Jon Fosse / Christian Colin


The noises of Strandebarm are the foundations of everything I write. The darkness of Autumn. A twelve-year-old boy running down a narrow lane in a village. The wind and the rain beating down, the fiord foaming. An isolated house with a lighted window. Perhaps a car went by. These things are the foundations of everything.
Tragedy with Fosse resides in the absence of catastrophe. Even Bjarne, the girl's childhood sweetheart, who at first seems to bring a hint of movement, cannot escape the immobility of the story. In the end, Beate, the happy one, is in the same situation as at the beginning. She waits, alone … the story can begin again.


I'm trying to write in a simple and concrete way, and at the same time, I'm hoping to touch on the large questions of life.
Jon Fosse's texts are intimate plays with no explanations, either psychological or social. At the centre of his texts can always be found the same issues, love and death. But how to name the unnameable through writing, whose original characteristic element is by definition the word? A paradox that Jon Fosse gets around - through the density and the musical rhythm of his language, and his repetitive attitude (which gives a liturgical dimension to his theatre), as well as through the omnipresent silence based on the relationships between people and not on the interiority of the characters.


I love my characters even though they are sometimes inept. None are ever bad in themselves. A human being doesn't have a pre-defined character. It's not our identity but our relationships which guide our lives. And the only art form which allows the depiction of this game of the human community is the theatre.
Fosse's universe is a world where people have lost or have never found their name. Refusing what he calls "the middle-class dimension", that is the biographical aspect of his characters, in Le Nom he gives us an accurate description of everyday emptiness by leading us, in passing, to a poetic and universal reflection on the first and last questions. The pre-existing child, the child we're expecting, becomes "unnameable", and right in the centre of the most obvious fact of life - thus of life itself - we find ourselves (as in reality) suddenly confronted with the most profound metaphysical questions. These questions involve not only the existential anxiety and isolation of human nature, but also a faint consolation on the lack of meaning, a serene little smile which lets us understand that our essential fragility is (perhaps) the only meaning of "the human exception".

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