{"id":104,"date":"2009-05-26T20:52:12","date_gmt":"2009-05-26T18:52:12","guid":{"rendered":"http:\/\/www.claude-arnaud.com\/fr\/?page_id=104"},"modified":"2025-01-22T02:22:54","modified_gmt":"2025-01-22T01:22:54","slug":"les-salons-revue-de-presse-internationale","status":"publish","type":"page","link":"https:\/\/www.claude-arnaud.com\/fr\/les-salons\/les-salons-revue-de-presse-internationale","title":{"rendered":"Les Salons : abroad\/ \u00e0 l’\u00e9tranger"},"content":{"rendered":"

\"\"USA <\/strong><\/h2>\n
*\u00ab Staged at the Th\u00e9\u00e2tre du Rond-Point, LES SALONS<\/strong> delighted the Paris theater audience during the 1986-87 season<\/strong><\/span>. The action takes place alternatively in the sitting room of Madame du Deffand<\/strong>, the leading literary hostess of eighteen-century Paris, and in that of her former prot\u00e9g\u00e9e turned rival, Julie de Lespinasse<\/strong>. Madame du Deffand\u2019s role was performed by the foremost french com\u00e9dienne<\/em> of her age, Madeleine Renaud<\/span><\/strong>. \u00bb George MAY, The Yale Review<\/em>, VOL. 80 ; n\u00b04, Nov.1992.<\/strong><\/h6>\n
\"\"<\/a>*\u00a0\u00bbDonn\u00e9s au TH\u00c9\u00c2TRE DU ROND-POINT<\/strong>,\u00a0LES SALONS<\/strong><\/em><\/span>\u00a0ont enchant\u00e9 le public PARIen\u00a0DURant la saison 1986-87<\/strong>. L’aCTION se situe ALTERNATIVEment dans le salon de\u00a0MADAME DU DEFFAND<\/strong><\/span>, L’H\u00f4TESSe litt\u00e9raire la plus connue du xviii\u00b0 si\u00e8cle, et celui de son ancienne PROT\u00c9G\u00c9e<\/span><\/strong>, devenue sa RIVALe,\u00a0JULIE DE LESPINASSE<\/strong>. le r\u00f4le de MADAME DU DEFFAND \u00e9tait tenu par la\u00a0COM\u00c9DIENNE\u00a0la plus marquante de son temps,\u00a0MADELEINE RENAUD<\/strong><\/span>. \u00bb\u00a0GEORGE MAY, THE YALE REVIEW<\/em>, VOL. 80 ; N\u00b04, NOV.1992.<\/strong><\/h6>\n
\"\"<\/a>*POUR TROUVER CETTE PIECE en<\/strong> tunisie<\/strong>, via la <\/span>librairie Al kitab<\/a>\u2026<\/h6>\n
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\"\"<\/strong>ITALIA<\/span><\/h2>\n
*\u00a0\u00bbEd ora veniamo al miracolo<\/strong> Madeleine Renaud<\/span><\/strong>. Acciambellata in fondo ad un\u2019immensa poltrona berg\u00e8re come un topolino novantenne<\/strong>, domina l\u2019intera rappresentazione(\u2026) Si resta sbalorditi, pietrificati<\/strong>\u2026Come puo un\u2019artista, i cui mezzi si sono largamente ridotti, riempire sottovoce e con un tono confidenziale lo spazio, et soggiogare une sala di mille persone che pendono dalle sue labbra ?<\/strong><\/span> ….Non ho ma\u00ef incontrato una simila qualita di ascolto in teatro<\/strong>.\u00bb Beno\u00eet ISORNI, La Repubblica<\/em>, 6.01.1987. <\/strong><\/span><\/h6>\n<\/blockquote>\n
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\"\"<\/span>*Tradutti da<\/span> Benedetta CRAVERI<\/a><\/span>, LES SALONS<\/em> hanno stati pubblicati da Einaudi, nel 1990, sotto il titolo :<\/span> SALOTTI<\/em><\/span>. (Collezione di teatro, n\u00b0325). <\/span><\/span><\/strong><\/h6>\n<\/blockquote>\n
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*Tutto \u00e8 doppio in questa commedia<\/span><\/strong>, doppio e spectaculare<\/strong>, a cominciare dalle scena che presenta due salotti, uno giallo oro e uno scarlatto, a finire con i due autori<\/span><\/strong> : Bernard MINORET<\/strong>, ultra sessantenne e<\/span> Claude ARNAUD<\/strong> di quella generazione ancora adolescente nel \u201968<\/strong><\/span>. Quasi une replica del binomio Deffand-Lespinasse.<\/strong>(\u2026) Ma come in quei grandi puzzle dove ogni ordine \u00e8 stato fantasiosamente scomposto<\/span><\/strong> e poi ogni pezzo riportato con pazienza a ricomporre l’immagine originaria, le frasi si incastrono senza forzature<\/span>,<\/strong> scivolano al loro posto nel dialogo rimarginando tagli et fatture e ci restituiscono intatto quel naturel <\/em><\/strong><\/span>che era nel Settecento une scelta estietica (\u2026) L\u2019immagine \u00e8 un tableau vivant<\/strong> di grande effetto.\u00a0\u00bb Rosetta LOY,<\/span> Corriere della Serra<\/em>, 1.06.1990.<\/span> (L’edizione italiana ha il pregio di une decina di pagine introduttive di Benedetta CRAVERI, esempio di guida alla lettura)
\n<\/strong><\/span><\/h6>\n<\/blockquote>\n
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*L’\u00e9t\u00e0 d’oro \u00e8 pero la Parigi settecentesca, e a riportarci nelle singolari atmosfere delle dimore gentilizie della Capitale<\/span>, con in pi\u00f9 il merito di suggerire spunti di starordinairia attualit\u00e0, \u00e9 une deliziosa pice teatrale dal titolo<\/span> SALOTTI.<\/span>.. Un magistrale dialogo<\/span> \u00bb <\/span>Fabio SCANDONE,<\/span> Il Mattino<\/span><\/em>, 16.05.1990.<\/span><\/strong><\/span><\/h6>\n
\u00a0<\/strong><\/h6>\n
*Un gioco verbale di fioretto che non a cas puo far sovvenir La notte e il momento<\/strong><\/span> di Crebillon fils\u00a0\u00bb.\u00a0 Rodolfo di Giammarco<\/strong>, La Repubblica<\/span><\/em>, 4.05.1989<\/h6>\n
<\/h6>\n
*A Pariggi, Claude ARNAUD<\/strong> <\/span>(apprezzato biografo di Chamfort) e Bernard MINORET<\/span> (grande cultore del Settecento) hanno frantumato le stupende lettere delle antagoniste, traducendole in uno smagliante, nitido dialogo teatrale<\/strong><\/span>\u00ab\u00a0. Giuseppe Scaraffia<\/strong>, Il Messagiero<\/em>, 22.05.1990<\/h6>\n
<\/h6>\n
*Tutto \u00e8 autentico in questo incantevole falso<\/strong><\/span>, non una frase, non una parola, non un detaglio \u00e8 inventato. Ma come le tessitrici Navajos di cui parla Emilio Cecchi in \u00ab\u00a0Messico\u00a0\u00bb lasciano sempre nei loro tessuti<\/span> \u00ab\u00a0une piccola fratura, una menda, afinch\u00e9 l’anima non resti prigionera dentra al lavoro\u00a0\u00bb<\/strong>, MINORET<\/strong> <\/span>e ARNAUD<\/strong> hanno fatto scivolare<\/span> nei \u00ab\u00a0Salons\u00a0\u00bb une piccola frase apocrifa.<\/strong> Ritrovarla \u00e8 un’impresa impossibile e i due falsari non son disposti a svelarla\u00a0\u00bb. Benedetta CRAVERI,<\/strong><\/span> La Repubblica<\/em>, 21.04..1990<\/h6>\n
*Acquisitare sto libro\u00a0 : <\/strong><\/h6>\n
www.internetbookshop.it<\/a><\/h6>\n

\"\"<\/a><\/p>\n

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\"\"<\/a>*Venons-en au miracle<\/strong>\u00a0MADELEINE RENAUD<\/strong><\/span>. r\u00e9fugi\u00e9e au fond de son immense fauteuil-berg\u00e8re, comme une petite souris de 90 ans<\/strong>, elle\u00a0DOMINe de bout en bout la RePR\u00e9SENTION\u00a0<\/span><\/strong>(\u2026) on reste abassourdi, P\u00e9TRIfi\u00e9<\/strong>\u2026\u00a0COMment UNe ARTISTe,<\/span>\u00a0aux moyens \u00a0LARGeMENT R\u00e9duits<\/strong>, peut-elle Remplir l’espace \u00e0 voix basse<\/span> Et sur UN TON CONFIDENtiel, ET Subjuguer UNE SALle De MILLE PERSOnNE<\/span> PENDue \u00e0 ses L\u00e8vres ?<\/strong>\u00a0Je n’ai jamais vu une telle\u00a0QUALIT\u00e9 d’\u00e9coute au ThE\u00e2TRe<\/strong>.\u00bb\u00a0BENO\u00ceT ISORNI<\/span>, LA REPUBBLICA<\/em>, 6.01.1987.\u00a0<\/strong><\/h6>\n<\/blockquote>\n
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\"\"*TRADUits par\u00a0BENEDETTA CRAVERI<\/a>,\u00a0LES SALONS<\/em>\u00a0<\/span>ont \u00e9t\u00e9 publi\u00e9s chez EINAUDI, en 1990, SOus le titre :\u00a0SALOTTI<\/em><\/span>. (COLLEZIONE DI TEATRO, N\u00b0325).\u00a0\u00a0<\/strong><\/strong><\/h6>\n<\/blockquote>\n
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*Tout est double dans cette COM\u00e9DIe,<\/strong><\/span>\u00a0DOuble Et SPECTACUlaire<\/strong>, A COMmeNCer par la SCENe qui rePRESENTe Deux SALOns<\/span><\/strong>, l’un jaune d’OR Et l’autre rouge \u00e9CARLATe, jusqu’aux Deux AUTeuRs :\u00a0BERNARD MINORET<\/strong>, la soixantaine pass\u00e9e, Et\u00a0CLAUDE ARNAUD<\/strong><\/span>, d’une\u00a0GENERAtION eNCORe ADOLESCENTE<\/span> en 1968<\/strong>, presque\u00a0UNE REPLIque Du BIN\u00f4Me DEFFAND-LESPINASSE<\/span>.\u00a0<\/strong>(\u2026) MAis COMmEnt se peut-il, dans ce GRAND PUZZLE o\u00f9 chaque pi\u00e8ce a d’abord \u00e9t\u00e9 d\u00e9compos\u00e9e avec imagination,<\/span> <\/strong>puis report\u00e9e avec patience afin de recomposer l’image initiale, que\u00a0LEs phRASes S’embo\u00eetent sans effort,<\/strong>\u00a0s’immis\u00e7ant \u00e0 leur place dans le DIALOGue, malgr\u00e9 les coupes et les fractures, pour nous rendre, INTAct, ce\u00a0NATUREL <\/em><\/strong>qui \u00e9tait au xviii si\u00e8cle un choix esth\u00e9tique<\/span> <\/strong>? (\u2026) Le r\u00e9sultat est UN\u00a0TABLEAU VIVANT<\/strong>\u00a0qui fait grand effet.\u00a0\u00bb\u00a0\u00a0CORRIERE DELLA SERRA<\/em>, 1.06.1990, ROSETTA LOY<\/span>,\u00a0<\/strong><\/strong>qui ajoute: \u00ab\u00a0L’EDItION ITALIenne a l’avantage\u00a0<\/strong><\/strong>D’une INTRODUction d’une dizaine<\/span> de pages par BENEDETTA CRAVERI<\/span>, Exemple m\u00eame D’aide \u00e0 LA LEcTURe)<\/strong><\/strong><\/h6>\n<\/blockquote>\n
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*LE PARIs du si\u00e8cle des lumi\u00e8res reste un \u00e2ge d’or<\/strong>. une\u00a0DELIcieuse Partition TEATRALE intitul\u00e9e les SALOns\u00a0<\/em>\u00e0 le m\u00e9rite de rendre l’atmosph\u00e8re singuli\u00e8re des h\u00f4tels particuliers DE LA CAPITALE<\/strong>, en mettant en valeur des points d’une exTrAORDINAIRe AcTUALIT\u00e9<\/span><\/strong>…\u00a0UN \u00a0DIALOGue\u00a0MAGISTRALE<\/strong> \u00bb\u00a0FABIO SCANDONE<\/span>,\u00a0IL MATTINO<\/em>, 16.05.1990.<\/strong><\/h6>\n
*UN fleuret VERBAL<\/span><\/strong> qui ne fait pas penser par hasard \u00e0\u00a0LA nuit Et Le MOMENT<\/strong><\/em>\u00a0De CREBILLON FILS\u00a0\u00bb.\u00a0\u00a0RODOLFO DI GIAMMARCO<\/strong>,\u00a0LA REPUBBLICA<\/em>, 4.05.1989<\/h6>\n
*A PARIs,\u00a0CLAUDE ARNAUD<\/strong><\/span>\u00a0( BIOGRAphe appr\u00e9ci\u00e9de CHAMFORT) Et BERNARD MINORET<\/strong>\u00a0(GRAND amateur Du XViii si\u00e8cle) ont tir\u00e9 partie des extraordinaires LETTREs DEs deux rivales<\/strong>, en les traduisant en \u00a0\u00a0UN DIALOGue ThEATRALe d’une \u00e9blouissante nettet\u00e9<\/strong><\/span>\u00ab\u00a0.\u00a0GIUSEPPE SCARAFFIA<\/strong>, IL MESSAGIERO<\/em>, 22.05.1990<\/h6>\n
*Tout est AUThENTIque dans ce FAux enchanteur<\/span><\/strong>, pas UNe phRASE, pas UN mot, pas UN DETAil n’est INVENT\u00e9.\u00a0MAis, COmME LEs TiSSerandes NAVAJOS<\/span> Dont PARLe EMILIO CECCHI<\/span> dans son MESSICO<\/em> qui LAissent toujours dans leur tissu UNE Petite FAille, UN d\u00e9faut,<\/span> AFIN que L’\u00e2me Ne RESTe pas PRIsonni\u00e8Re DE leur travail<\/strong>,\u00a0MINORET<\/strong>\u00a0Et\u00a0ARNAUD<\/strong><\/span>\u00a0ont insinu\u00e9 dans\u00a0leurs SALONS<\/em> UNE Petite phrase apocryphe<\/span>.<\/strong>\u00a0la d\u00e9nicher est une entreprise IMPOSSIBLE Et les DEux FAusSAIres Ne sONt pas DISPOS\u00e9 A r\u00e9v\u00e9ler son emplacement<\/strong>\u00ab\u00a0.\u00a0BENEDETTA CRAVERI<\/span>,<\/strong>\u00a0LA REPUBBLICA<\/em>, 21.04.1990<\/h6>\n
*pour en savoir plus<\/span> :<\/strong><\/h6>\n
WWW.INTERNETBOOKSHOP.IT<\/a><\/h6>\n<\/blockquote>\n<\/blockquote>\n","protected":false},"excerpt":{"rendered":"

USA *\u00ab Staged at the Th\u00e9\u00e2tre du Rond-Point, LES SALONS delighted the Paris theater audience during the 1986-87 season. The action takes place alternatively in the sitting room of Madame du Deffand, the leading literary hostess of eighteen-century Paris, and in that of her former prot\u00e9g\u00e9e turned rival, Julie de Lespinasse. Madame du Deffand\u2019s role […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":102,"menu_order":2,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-104","page","type-page","status-publish","hentry","count-0","even alt","author-admin","last"],"post_mailing_queue_ids":[],"_links":{"self":[{"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/pages\/104","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/comments?post=104"}],"version-history":[{"count":39,"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/pages\/104\/revisions"}],"predecessor-version":[{"id":16479,"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/pages\/104\/revisions\/16479"}],"up":[{"embeddable":true,"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/pages\/102"}],"wp:attachment":[{"href":"https:\/\/www.claude-arnaud.com\/fr\/wp-json\/wp\/v2\/media?parent=104"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}