On paper, the proposal of the Theatre Royal Haymarket was promising. Truffle, satire witty Moliere about the vanity and hypocrisy in the court must be primed and in Los Angeles in the 21st century. The plot involving religious crook who cause a noble house, gullible was designed specifically for the place where “you know the treaty alien and Predator” is still “endemic”, as said in the program of the translator, Christopher Hampton. Besides Gerald Garutti director of the play and professor of French at the University of Cambridge, the Hamptons, mystic experience and efficiency it seems that the project is intellectually challenging and innovative bilingual format. However, they also found themselves the victims of an impostor and false religious Tartufo, a look of seriousness and wit can serve you. “Damn,” said the French critic, especially anger with what he called “an unusual performance autoenganadora” to conclude: “what a mess!” Rarely such tournaments creative team so unanimously criticized.
Many reviewers focused on the awful and embarrassing end of the sequence, which turned the king my lord in the Donald Trump. The Assembly, however, was already in the coffin before the joke about the Mar-a-Lago cravasse another nail. Post-mortem evaluation, quieter, and designed to detect the exact cause of the death of the Mount, reveals the risk involved in the upgrade and update classic pieces.
The first issue of the truffle is Turkish. Marketing the exhibition also explores the claim that this was the first of the assembly’s bilingual campaign on stage in the west end (there are others in London theatres), with the translated parts into French and vice versa. It would be nice to achieve – without doubt that a few insist on experiments of this type, due to the fact that they rarely work. In addition, the tortuous history of the fund required to buy a family of characters to communicate in two languages is very complex to be captured intuitively.
Referring again to the program notes, we learn that he is a billionaire gullible fall truffles, imported French “children, created in English speaking countries are bilingual, he is obliged to speak English with guest apparently monoglota”.
If you are able to keep track of all this, you will still have to deal with the constant and exhausting swinging between the verses the white English prophetic and Alexandrine verses are the French of the 12 sections. The lines in the Alexandrine troublesome even in the best of circumstances, while Claude Piron in dealing with admiration life scary create Dorine, extending the confidence of the vowels, of J’s anger, and gloire. But conflicting gear changes between the two types of scales that make it difficult to entry on the pace. In verses white, contemporary English may seem forced (“why, if you agree to my peace / rejection to final authorization?” Says enjoy especially noisy). In addition the end of the link, the lyrics and the English subtitles are peppered with references to Century 21, such as Advil, limousines and bikini, while the French of the 17th century are mostly forgotten. As a result, the audience is forced to dive quickly into different languages, metrics, and historical times real marathon.
Amendments bilingualism of the classic pieces can work if done very carefully. The electrification of the creations of Shakespeare, Thomas Ostermeier Barbican Theatre in London, used the German translation in English, with occasional changes to English in solilóquios and improvisation. Unlike this truffle, maps polyglots of Ostermeier shed light on the meanings implicit in the plays use various records. It is quite natural that Hamlet or Richard III to change the world for the public to speak privately with him. The familiarity of the masses of the English with the essence of Shakespeare’s plays. The work of Moliere is less known by the public.
The second problem with the Tartufo, with the Walk, is a perversion of the drama. Fund archaeological and gases uppermost, with the facade of transparent glass, which color you can quickly change from clear to dark to hide or reveal internal actors. The novelty of this game quickly lose, mainly because in the scenario more or less normal. it does not save even a remote sense of normalcy. Thus, some of the best scenes of the piece are damaged – most notably the sequence in which the truffle is trying to seduce a woman on the kitchen table while the unfortunate husband is hiding under. In the scenario Garutti three in and out unnecessarily in the box that lists the whereabouts of her emerging.
As well as maps bilingual, reencenações that change the intentions of dramatic the original does not need to be so forced. In Hamlet, taken last year at the theatre Almeida, Robert Ike, a radical change in the famous scene in which hamlet called hidden in the uncle’s killer, Claudius, the cross, the account of their crimes. Usually, Hamlet goes unnoticed in the corner, but Ike puts you directly in front of Claudius, by changing the logic of the scene: this will be Claudius, the product of the imagination of Hamlet? Critics were divided new and mysterious approach, but agreed that it gave focus on the interesting scene very well-known.
Coincidentally, another version of the truffle is produced by Anil Gupta, Richard Pinto and Royal Shakespeare Company performance at the end of the year. This version is the Muslim community of Birmingham. Director Iqbal Khan, is not the meaning of the massacre the media to the assembly of the Theatre Royal Haymarket. “There is always an atmosphere of fear when Knows large chunks of the masses in the modern” he said, “this won’t happen with us, regardless of whether or not there is this another version.” Khan asserts that “seeks to honor the dramatic structure”, and “the audacity to move away from him when it is necessary.” And concludes: “I feel that what we do is really good”. These noble objectives are welcome, but a careful look at the mistakes of his predecessors can also be important. / Translated Roberto Muniz