DEUX AMIS – They emerge, it’s for them a matter of life or death. They quarrel, they embrace. Stan and Charles want to stage Molière, four plays, as Antoine Vitez did in his time, master and model. Two chairs, a table, and a stick, without set design. But the actors, as sworn enemies, oppose each other, flare up in nervous language, a tense flow, vital. The two beasts admire and envy each other, burn in their dance of death, enjoy and challenge each other. Friends, lovers, and artists, they scratch, lucid, the world of culture and theater, celebrate absolute love, its graces, its pathetic flaws, and its horrors. They will accompany each other to the end, in the brilliance of desires or in fraternal crash. After “Closure of Love” and “Sisters (Marina & Audrey),” Pascal Rambert composes the fiery score of a male love, a text anchored to the voices and bodies of Stanislas Nordey and Charles Berling, grappling with their art, their craft, their madness, and their love.
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