© Sébastien Chambert


Fantastic Recital of Guy de Maupassant

Created in July 2010

"It is a play of imagination that will strike the readers and give them more than a shiver down their back because it is strange." Guy de Maupassant

Who is this invisible, immaterial, invasive on, wealthy being, literally obsessing the narrator? Who is this Horla?
Horla, is the protagonist who does not recognise himself anymore.
Horla, is the other one, the foreigner, whether he comes from Mars, Brazil or elsewhere.
Horla is Flaubert: a literary guru who wrote everything and who from his grave, continues to dominate Maupassant. He is in me, he is becoming my soul, I will kill him.
Horla, finally, is the director that I am, annoying the actor that I am, and I do not agree!

I do not watch myself performing but I keep a close eye on myself. This duality, of which I am nevertheless familiar with, is in this case stamped by a particular echo: the double subject, again… “The actor " is my obsession; the actor and his word, too often entangled in a soft, academic and predictive syntax; the actor who undervalues the respiratory graphics of feelings, who ignores the recitative, the singing, voices movements, tone nuances, and the unpredictable breaks in the torrent of words. Just like the singer, and just like the clergyman, the actor has to "wake up our gristle and heart".

Each sentence of Le Horla is chiselled with perfection in prose rhythm, and a complex melodic structure. Flaubert felt the tone of his prose by submitting it to the exercise of "gueuloir" (shouting). "Le Horla", haunted by Flaubert and master of Maupassant literature, reclaimed with all his strength the passage of scriptural to phonic, and he strains it in the widest range of vocals; from a whisper to incantation, a bulimic desperation of the word to spoken aphasia. At this very moment, it is not the director that I am who speaks to the actor that I am, but the actor who speaks to himself. In "Le Horla", it is the actor who leads.

Jérémie Le Louët