“Pessoa : Since I’ve Been Me” Electric Saudade by Mael Heinz

Dear Shaded Viewers,

“I do not know what tomorrow will bring”

Bob Wilson’s latest show opened with this sentence, repeated by cartoonesque characters accompanied by recorded laughter. It became an uncanny coincidence when, later that night, Trump was elected. On what would be one final night of innocence, we reveled in laughter, despair, mystery, creativity, and simplicity. Let’s hope that another madman doesn’t stifle Art anytime soon.

Bob Wilson, the 83-year-old stage director, boasts a renowned career, directing multiple productions worldwide and constantly traveling. Currently, his production of “Three Tall Women” by Edward Albee is running in Athens. Wilson’s style is simple, efficient, consistent, and instantly recognizable. For 50 years, he has revolutionized theater with memorable pieces such as “Einstein on the Beach,” created with avant-garde composer Philip Glass, and “Hamletmaschine,” in collaboration with German dramatist Heiner Müller. New generations continue to admire him: Rufus Wainwright transformed Wilson’s “Shakespeare’s Sonnets” into songs, Lady Gaga posed as Louvre masterpieces for him in 2013, and Woods of Birnam composed the music for his adaptation of Wilde’s “Dorian Gray.”

Attending a Bob Wilson show will undoubtedly keep you on the edge of your seat. His process, though simple, is disruptive. Wilson conceives each piece as a visual book divided into major sections, each with a climax. This strategy has allowed him to work with non-English texts, making them accessible worldwide. For Pessoa, three sets were created to stage his life: childhood, adulthood, and death. All texts were grouped into these three categories, offering viewers insight into Pessoa’s mind. The chosen texts portray an overly worried boy who grew into a pessimistic writer, believing that love is akin to a Portuguese journey.

Nick Sagar successfully created an atmospheric soundscape with eerie music, captivating echoes, laughter, and crystal-clear voices, evoking Pessoa’s idyllic childhood in Lisbon. Beyond the production’s formalism, the text offers deeper insights when seen or understood in certain ways. When Sophia Menci performs Pessoa’s only known breakup letter, the sudden whiteness of the stage illuminates the nature of the separation: a mundane yet devastating end. Menci’s gestures vividly reconstruct the emotional entanglement of hopelessness, anger, and sadness conveyed in the letter.

Even when portraying Pessoa or an archetype, the actors are electrifying. Their stage presence and exceptional declamation are remarkable. Gianfranco Poddige embodies an august clown, while Aline Barberi remains stoic during the storm scene. ASVOFF’s friend and former jury member, Maria de Medeiros, had her baptism by fire. She clearly grasped Wilson’s unique rhythm and gave an even more impressive performance on stage. Beyond her burlesque gestures, she delivered a hilarious rendition of fado.

Until the end of the week, don’t miss the opportunity to be amazed by this extraordinary piece at the Théâtre de la Ville. “Pessoa” is a show that fully embraces the artificiality of theater. You’ll be captivated by theatrical devices from various eras, and surprised by stylized gestures drawn from both European and American theater traditions. Even if you’re a Bob Wilson aficionado, this production will offer fresh perspectives. Let’s hope Wilson continues to tackle projects featuring authors who might seem unconventional choices for the stage!

Mael Heinz

Until the 16th of November

Theatre de La Ville

2 Pl. du Châtelet
75004 Paris