Crime et Châtiment/Crime and Punishment
Few characters escape destitution in this surreal world where they struggle with very real emotions. The staging is burlesque and physical: the white masks, scenes acted in the style of the old silent films, actors' heads popping out of holes in the set. Exact period dress felt redundant and would have been uncomfortable for the actors. I wanted the clothes to reflect the thread-bare conditions of a society that is based on a cruel justice. The clothes, like life, have reached their structural limits and long-since lost their colour.
Raskolnikov's coat was the starting point. For Serge, the director, it was a prop. The character sleeps in it. It amplifies his burlesque movements. In its folds Raskolnikov hides the axe with which he murders Aliona Ivanovna.
Raskolnikov's coat was the starting point. For Serge, the director, it was a prop. The character sleeps in it. It amplifies his burlesque movements. In its folds Raskolnikov hides the axe with which he murders Aliona Ivanovna.
- Adapted by: Eric Prigent from the novel by F.M. Dostoïevski
- Dir: Serge Poncelet
- Set: Mariangela Carpenzano and Ingrid Bassin
- Cast: Benjamin Aïchouba, Gaëlle Audard, Alain de Catuelan, Gerard Gilles, Eric Prigent, Philippe Simon, Olga Sokolow and Marc Stussy
- At: Théâtre de l'Opprimé, Paris
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