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LORENZACCIO

Alfred de Musset

1834

Date de lecture: premier trimestre 1996.

Fiche de lecture: Fontaine Didier.

ACTE I: Florence: les forces en présence. Double but: panorama historique,


ambiguité de Lorenzo

Scène 1: L. et A de M attendent une femme achetée

Scène 2: marchand et orfèvre, commentaire sur corruption (bal)

Scène 3: départ du marquis, cardinal critique hyprocrisie (sait sa liaison avec le duc)

Scène 4: Ambiguité: Lorenzo provoque Valori, évanouissement (épée)

Scène 5: mère et tante de Lorenzo nostalgiques ancienne Florence en regardant les


bannis.

ACTE II: la confusion des expression et des sentiments, éclatement de l'ambiguité des
rapports <--> pouvoir en place.

Scène 1: P.Strozzi apprend au frère de Louise qu'elle sait fait insulter par Julien.

Scène 2: Lorenzo se moque de Tébaldéo le peintre, duc: portrait

Scène 3: confession de la marquise au cardinal (veut manipuler)

Scène 4: M Soderini raconte sa vision nocturne à son fils.

Scène 5: Pierre qui croit avoir tué Julien revient chez son père et Lorenzo le critique.

Scène 6: Préparation: Le duc réclame un portrait (vol de la cotte de maille)

ACTE III: Complots et drame.

Scène 1: L fait semblant de se battre (pour éviter étonnement le jour du meurtre)

Scène 2: Philippe décide préparer ses dils à la conjuration.

Scène 3: Révélation: officiers arrêtent Thomas et Pierre, L révèle à P (tirade) sa


véritable personnalité et ses desseins.

Scène 4: Catherine lit épouvantée la lettre que le duc a envoyée.


Scène 5: cardinal rend une visite à sa belle-soeur, qui ne peut le recevoir puisqu'elle a
un RDV avec le duc.

Scène 6: marquise veut rendre le duc républicain, cardinal surprend un baiser.

Scène 7: empoisonnement de Louise (père ne veut plus entendre parler de politique.)

ACTE IV: Le piège se referme.

Scène 1: L annoce au duc que sa tante viendra dans sa chambre le soir même.

Scène 2: T et P sortent de prison après mort de Louise, veulent se venger.

Scène 3: grande méditation de L. sur son meurtre.

Scène 4: marquise renonce au duc, cardinal la fait chanter, elle avouera.

Scène 5: Lorenzo prépare la chambre de ses noces.

Scène 6: Funérailles de Louise: P reproche à son père d'abandonner la république.

Scène 7: L annoce aux républicains qu'il va tuer le ducn veut qu'ils se préparent,
personne ne le croit.

Scène 8: Bannis refusent de partciper aux mouvement si Philippe ne vient pas.

Scène 9: Lorenzo se prépare.

Scène 10: cardinal et Maurice préviennent le duc de se méfier de Lorenzo.

Scène 11: Dénouement: assassinat du duc.

ACTE V: L'échec, les républicains ne parviennet pas à exploiter meurtre.

Scène 1: Florentins apprennent mort du duc et s'apprêtent à élir son successeur (Côme
de M.)

Scène 2: L a fui à Venise, apprend que sa tête a été mise à prix.

Scène 3: commentaires sur la réconciliation entre la marquise et le marquis.

Scène 4: commentaires de Pierre sur le nouveau roi.

Scène 5: peuple voit que rien n'a changé.

Scène 6: Désillusion: L apprend la mort de sa mère, meurt lui aussi.

Scène 7: sur place Florence, Côme discours d'usage, échec.

 
Play Exposes Timeless Plot
By Kimberly Clarke
Special to The Hoya
Friday, January 28, 2005; Page B1

But in Shakespeare Theatre’s world premiere of a new


translation and adaptation of French poet Alfred Musset’s
masterpiece “Lorenzaccio,” the noble values of courage, honor
and freedom serve as euphemisms for ruthless ambition and
violent rebellion; they become a nation’s tragic flaw.

During Shakespeare Theatre’s production of “Lorenzaccio,”


Philip Strozzi, patriarch of the Florentine nobility, poses a
memorable thought, “When you overturn what is, what will
grow in its place?”

Once revered for his knowledge and wisdom, Philip now


stands alone, frustrated, aged and heartbroken, as the lone
voice of reason amongst a nation corrupt with power and
desire for blood and glory.

The production transports the audience to16th century


Florence, which, once the home of a revered republic has
fallen under the control of the well-connected, powerful,
ambitious and very wealthy Medici family.

“Lorenzaccio” is the tragic tale of Lorenzo de Medici, cousin


and beloved friend of the tyrannical and debauched
Alessandro de Medici, Duke of Florence, who poses as the
new “kingly power” of Florence.

The Florentines now live under the shadow of history: the glory
that once was Florentine freedom and the overwhelming
legacy of ancient Rome. Duke Alessandro is Caesar and the
people eagerly await a Brutus to be their hero.

Musset’s “Lorenzaccio” was originally a critique of recent


events in his own country, 19th century France. One French
king was continually substituted for another despite popular
rebellions attempting to overthrow the tyrannical government
and return France to its days as a republic. For the French
citizens in 1830 — as well as Lorenzaccio’s Florentines —
hopes for change and revolution melted in the midst of a
tragically cruel reality: rulers and rebellions came and went,
but the more things changed, the more they remained the
same.

But despite this painful truth, some Florentines went to great


lengths to preserve Florence’s honor and gain ultimate glory.
No one sacrificed more to achieve these goals than Lorenzo
de Medici, played by Jeffery Carlson. Lorenzo, nicknamed
Lorenzaccio (which translates to “dirty Lorenzo”) by the
Florentines, is despised for his cowardice, eccentricity, moral
irreverence and his close friendship with his cousin, the cruel
and abusive Duke of Florence.

Jeffery Carlson, making his Shakespeare Theatre debut, is


captivating as he emotionally and physically embodies
Lorenzo’s moral crisis as he plots to betray his patron. His
limbs often twitch or flutter as though he is at once overcome
and strangely delighted in the twisted corruption he and his
cousin share, as they both seem to lie outside the boundaries
of conventional morality.

At other times, his hyperactivity reveals the deep vengeful pain


gnawing at his heart, as each word he utters seems a painful
confession of the disgust he feels for the Duke, for himself and
for the cowardice of all humanity.

Though Carlson’s portrayal of Lorenzo’s effeminate


eccentricity and flamboyance is occasionally taken to the point
of painful and whiny annoyance, he reveals the poet and
dreamer behind a soul conflicted about his desire for fame and
glory.

Robert Cuccioli as Alessandro de Medici achieves the


impossible, making the distasteful and murderously ambitious
Duke seem human as he yearns for companionship, love and
affection, especially from his beloved Lorenzo. Cuccioli brings
vulnerability and humanizes Alessandro despite the
inhumanity of his actions.

The rest of the cast offers powerful portrayals as well. Pedro


Pascal delivers a fiery performance as Philip Strozzi’s son
Piero, whose need to preserve the honor of his family and his
nation morph into a sick desire for vengeance and power.

Ted van Griethusysen is flawless as Philip Strozzi. He reveals


the heartache of a man standing alone, struggling to fight the
current of rebellion plaguing Florence and poisoning his son
and daughter against his vision for peace.

Other strong performances include Chandler Vinton as


Countess Cibo, adulterous wife of a Florentine Count, and
Michael Rudko as Cardinal Cibo, rising to become the brains
behind the corruption that stains the city.

Shakespeare Theater’s “Lorenzaccio” is the product of


Musset’s play newly translated and adapted by local
playwright John Strand, who has given more life and
complexity to Musset’s original characters.

The play asks of them if history is really changed by patriots


willing to sacrifice their life to preserve honor of their country.
Or, cruelly enough, is history like it was in 16th century
Florence, 19th century France and 21st century Washington,
D.C. — just politics as usual?
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