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诏賮鬲鈥屬堏堎囏й� 倬爻 丕夭 蹖讴 禺丕讴爻倬丕乇蹖
"Arr锚te avec ces chaises ! ... Nous sommes des gens civilis茅s, nous souffrons avec des r猫gles, chacun retient son souffle, pas de trag茅die...Pourquoi au fond ? Je n'en sais rien, mais c'est comme 莽a. Toi et moi, nous participons 脿 cet effort de dignit茅..."
96 pages, Paperback
First published January 1, 1987
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613 people want to read
About the author
Yasmina Reza
56听books542听followersYasmina Reza began work as an actress, appearing in several new plays as well as in plays by Moli猫re and Marivaux. In 1987 she wrote Conversations after a Burial, which won the Moli猫re Award for Best Author. Following this, she translated Kafka's Metamorphosis for Roman Polanski and was nominated for a Moli猫re Award for Best Translation. Her second play, Winter Crossing, won the 1990 Moli猫re for Best Fringe Production, and her next play The Unexpected Man, enjoyed successful productions in England, France, Scandinavia, Germany and New York. In 1995, Art premiered in Paris and went on to win the Moli猫re Award for Best Author. Since then it has been produced world-wide and translated into 20 languages. The London production received the 1996-97 Olivier Award and Evening Standard Award. Screenwriting credits include See You Tomorrow, starring Jeanne Moreau and directed by Didier Martiny. In September 1997, her first novel, Hammerklavier, was published.
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Displaying 1 - 30 of 67 reviews
March 8, 2021
This is Yasmina Reza's first play. And it's sooo good? I mean, what a talent. I knew there is a reason she is one of my favorite playwrights. I'm currently working my way through her early work and Conversations apr猫s un enterrement (= Conversations after a burial) truly stands out. It's such a great play. The characters are little shitheads but you're still curious about them. The tension between them is great. The stakes are so fucking high, so that you absolutely have to know how this shit show will end. Truly, a wonderful Rezaian play.
The play, like so many of her plays, is basically a little family drama that unfolds at the same location during a short period of time. Paterfamilias Simon Weinberg has just passed away, and, according to his wishes, just been buried 鈥� not beside his wife, in the cemetery, but on his own land. The mourners cover the coffin with dirt as the play begins.
Assembled are his three children, all in their 40s now: Nathan, 脡dith, and Alex. Also in attendance is Pierre, their uncle (on their mother's side) and his wife, Julienne, as well as 脡lisa, the odd woman out: formerly Alex鈥檚 girlfriend, she has been in love with Nathan for some time.
What follows is a small family drama in which secrets, unlike Simon鈥檚 corpse, aren鈥檛 so easily buried.
There are some tensions that might be expected at any such family gathering, as everyone is trying to come to terms with past, present, and future. The father is laid to rest, but his presence is still felt. However, some unexpected facts are revealed as well, which change the family's perception of each other and the recently deceased Simon Weinberg.
The children, all unmarried, seem not to have much luck in love. 脡lisa's presence causes complications, and despite her best efforts she can't escape the gathering. Alex didn't know she was coming to the burial and she plans to leave right after to avoid confrontation with him ... but when her car breaks down, she is forced to stay for the night.
As with all of Reza's plays, the stage design is minimal. She doesn't want any distractions. She imagined and "open space" where the characters can take up enough room to explore their innermost wishes and repressed feelings. As we have already established, these six characters meet for Simon Weinberg's burial. We meet them right when the coffin is being covered with dirt, as Nathan reads from a letter that his father had addressed at 20 years old to his then still unborn son. Nathan, whom the father saw as his "prodigious radiance" can be seen as the star-child and beloved of the family.
His younger brother Alex, an ambitious writer, has always felt unloved by his father, and can't stand the fact that 脡lisa has abandoned him and prefers his brother to her. Nathan, however, has, with the exception of one time, never returned 脡lisa's advances out of respect for his brother.
Their sister 脡dith, the middle child, knows about their feelings and tries to avoid clashes that could potentially lead to a violent break-up.
Pierre, their uncle, is a witness to the past (the father's relationship with his children, Alex and Nathan's psychology, etc.). He is there to speak the truth but also to calm the situation down when it becomes too confrontational. His wife, Julienne, is a woman of common sense, full of ingenuity and good feelings, whose role often borders on scapegoating.
脡lisa, the only character who does not belong to the family, is the so-called disruptive element: arriving unexpectedly, she is the source of many of the problems to come, especially as she is always prevented from leaving the family grounds.
There are many reasons why I enjoyed this play so much. First of all, I found it realistic in its exaggerations. As always, Yasmina Reza captured these perfect little moments that absolutely made me feel for the characters and made me believe that they are real people. I enjoyed her exploration of the different forms of grieving and guilt in particular.
In general, I really felt for Alex in this play, which might seem surprising. He's not necessarily the nicest character and the way he treats his ex-girlfriend is horrible. However, I could somewhat connect to his own feelings of bitterness and feeling like his life has no purpose. Alex is a writer. Or at least trying to be one.
The other subplot that had me absolutely dying and literally on the edge of my seat was the relationship of Nathan and 脡lisa. I don't know why and I don't know how, but DAMN, I was rooting for these two. Their relationship was filled with so much tension because 脡lisa had formerly dated Alex, and for fear of hurting him, she and Nathan never really allowed themselves to give oneself over to their emotions and passion. I found their relationship so interesting and was genuinely curious to see how it would play out in the end.
Overall, the relationships in this play - between the siblings, the siblings and their father, the siblings and their lovers, etc. - were very intriguing and a delight to follow. Reza truly shines with her dialogue, witty banter and heartfelt moments throughout the play. Overall, it is a great exploration of family dynamics and the manifold process of mourning.
The play, like so many of her plays, is basically a little family drama that unfolds at the same location during a short period of time. Paterfamilias Simon Weinberg has just passed away, and, according to his wishes, just been buried 鈥� not beside his wife, in the cemetery, but on his own land. The mourners cover the coffin with dirt as the play begins.
Assembled are his three children, all in their 40s now: Nathan, 脡dith, and Alex. Also in attendance is Pierre, their uncle (on their mother's side) and his wife, Julienne, as well as 脡lisa, the odd woman out: formerly Alex鈥檚 girlfriend, she has been in love with Nathan for some time.
What follows is a small family drama in which secrets, unlike Simon鈥檚 corpse, aren鈥檛 so easily buried.
There are some tensions that might be expected at any such family gathering, as everyone is trying to come to terms with past, present, and future. The father is laid to rest, but his presence is still felt. However, some unexpected facts are revealed as well, which change the family's perception of each other and the recently deceased Simon Weinberg.
The children, all unmarried, seem not to have much luck in love. 脡lisa's presence causes complications, and despite her best efforts she can't escape the gathering. Alex didn't know she was coming to the burial and she plans to leave right after to avoid confrontation with him ... but when her car breaks down, she is forced to stay for the night.
As with all of Reza's plays, the stage design is minimal. She doesn't want any distractions. She imagined and "open space" where the characters can take up enough room to explore their innermost wishes and repressed feelings. As we have already established, these six characters meet for Simon Weinberg's burial. We meet them right when the coffin is being covered with dirt, as Nathan reads from a letter that his father had addressed at 20 years old to his then still unborn son. Nathan, whom the father saw as his "prodigious radiance" can be seen as the star-child and beloved of the family.
His younger brother Alex, an ambitious writer, has always felt unloved by his father, and can't stand the fact that 脡lisa has abandoned him and prefers his brother to her. Nathan, however, has, with the exception of one time, never returned 脡lisa's advances out of respect for his brother.
Their sister 脡dith, the middle child, knows about their feelings and tries to avoid clashes that could potentially lead to a violent break-up.
Pierre, their uncle, is a witness to the past (the father's relationship with his children, Alex and Nathan's psychology, etc.). He is there to speak the truth but also to calm the situation down when it becomes too confrontational. His wife, Julienne, is a woman of common sense, full of ingenuity and good feelings, whose role often borders on scapegoating.
脡lisa, the only character who does not belong to the family, is the so-called disruptive element: arriving unexpectedly, she is the source of many of the problems to come, especially as she is always prevented from leaving the family grounds.
There are many reasons why I enjoyed this play so much. First of all, I found it realistic in its exaggerations. As always, Yasmina Reza captured these perfect little moments that absolutely made me feel for the characters and made me believe that they are real people. I enjoyed her exploration of the different forms of grieving and guilt in particular.
ALEX: Mais moi j'ai envie que tu me dises que je vais le revoir! Merde, c'est simple, c'est net, j'ai envie que tu me dises: 芦Oui. Tu vas le revoir.禄 J'ai besoin de 莽a! C'est con, c'est ce que tu veux, mais j'ai envie d'entendre, j'ai envie qu'on me dise: 芦Oui. Tu le reverras!禄Alex's conversation with his uncle was one of the strongest moments in the play. After the burial, Alex feels lost and is overcome by guilt and grief. He confides in his uncle and tells him that as his father lay dying, he never found the right words to console him. He fears that his father died bitter, that his father died with little love and understanding of Alex and his lifestyle. He remembers a lot of their encounters and pleads with his uncle to tell him that he will eventually see his father again. He knows it's no use but he really needs someone to tell him that everything will be okay. His uncle is good at listening and eventually confesses that despite the fact that he's always seen as a man of "good humor", no one will cry at his grave the way that Alex is crying right now at the grave of his father. It's a chilling moment that reveals so much. About Pierre. But also about the impact that Simon left on the lives of his children.
In general, I really felt for Alex in this play, which might seem surprising. He's not necessarily the nicest character and the way he treats his ex-girlfriend is horrible. However, I could somewhat connect to his own feelings of bitterness and feeling like his life has no purpose. Alex is a writer. Or at least trying to be one.
ALEX: Je n'ai rien 脿 dire. Je n'ai jamais eu rien 脿 dire. Comment 茅crire lorsqu'on n'a strictement rien 脿 dire?At one point, he asks himself the exact question that I am always asking myself: How can you write when you have absolutely nothing to say? Towards the end of the play, he comes to the conclusion that writing means going somewhere people don't go (鈥淐'est exactement 莽a 茅crire, aller quelque part o霉 on ne va pas鈥︹€�), it's about exploring something of worth that hasn't been explored before. And that also means being honest with yourself. So, even though Alex did some really shitty things, I still liked following him on his journey of self-revelation after his father's death.
The other subplot that had me absolutely dying and literally on the edge of my seat was the relationship of Nathan and 脡lisa. I don't know why and I don't know how, but DAMN, I was rooting for these two. Their relationship was filled with so much tension because 脡lisa had formerly dated Alex, and for fear of hurting him, she and Nathan never really allowed themselves to give oneself over to their emotions and passion. I found their relationship so interesting and was genuinely curious to see how it would play out in the end.
Overall, the relationships in this play - between the siblings, the siblings and their father, the siblings and their lovers, etc. - were very intriguing and a delight to follow. Reza truly shines with her dialogue, witty banter and heartfelt moments throughout the play. Overall, it is a great exploration of family dynamics and the manifold process of mourning.
July 6, 2016
禺蹖賱蹖 賳賲丕蹖卮賳丕賲賴贁 禺賵亘蹖賴. 亘賴 賲賳 讴賴 丨爻丕亘蹖 趩爻亘蹖丿.
December 5, 2020
First performed in September 2000, at the Almeida Theatre, London, this was the forth Reza play I've read, and overall I found it to be pretty good, but not anywhere near as good as the brilliant 'Art'.
February 14, 2021
The family gathers after the patriarch's funeral and all their familial dysfunction and secrets come tumbling out. Sounds interesting, right? Yet it's dull, bland and pointless, unless the point was to show that they are all vaguely unlikeable people.
April 17, 2025
"...Avevo questo genere di idee folgoranti a vent'anni... E anzich茅 tutto questo, lo scenario quotidiano, la piccola ferita al centro del mondo, la sequela interminabile dei desideri, dei passi, dei gesti inutili... Il labirinto dei sentieri inutili... E anche la tenerezza... la tenerezza che mi paralizza"
I dialoghi della Reza non si battono
I dialoghi della Reza non si battono
May 20, 2023
Recensione a cura della pagina instagram pagine_e_inchiostro:
Conversazioni dopo un funerale 茅 una pi猫ce impostata sul lutto e sui conflitti famigliari.
La Reza aveva venticinque anni quando ha scritto questa opera, che gi脿 mostra diversi punti chiave della sua narrazione: il linguaggio scarno e secco, l鈥檜so dei dialoghi, la chiarezza delle dinamiche, gli stati d鈥檃nimo dei personaggi. La Reza ha l鈥檃bilit脿 di raccontare ci貌 che si cela dietro ai rapporti umani: astio, amore, scambi di occhiate, silenzi.
Il suo linguaggio cambia continuamente registro, passando dall鈥檌ronico e il dissacrante, al tragico e commovente.
Cos矛 affiorano temi comuni a tutte le famiglie: gelosie, rancori, dubbi, affetti, incomprensioni, tradimenti.
La Reza 茅 una maestra nel mostrare la fragilit脿 dei rapporti umani, ma lo fa con un certo sarcasmo, un certo amore per le piccole cose.
Il velo cala sui segreti di famiglia come un sipario, rivelandoci il meglio e il peggio dell鈥橴omo. Il lettore non pu貌 che assistere a questo piccolo teatro dell鈥檃ssurdo, composto da scene quotidiane realistiche e incomprensibili allo stesso tempo, attendendo una catarsi.
Ci貌 che la Reza trasmette 茅, al termine, l鈥檈terno scorrere della vita che non si ferma davanti a nulla.
Conversazioni dopo un funerale 茅 una pi猫ce impostata sul lutto e sui conflitti famigliari.
La Reza aveva venticinque anni quando ha scritto questa opera, che gi脿 mostra diversi punti chiave della sua narrazione: il linguaggio scarno e secco, l鈥檜so dei dialoghi, la chiarezza delle dinamiche, gli stati d鈥檃nimo dei personaggi. La Reza ha l鈥檃bilit脿 di raccontare ci貌 che si cela dietro ai rapporti umani: astio, amore, scambi di occhiate, silenzi.
Il suo linguaggio cambia continuamente registro, passando dall鈥檌ronico e il dissacrante, al tragico e commovente.
Cos矛 affiorano temi comuni a tutte le famiglie: gelosie, rancori, dubbi, affetti, incomprensioni, tradimenti.
La Reza 茅 una maestra nel mostrare la fragilit脿 dei rapporti umani, ma lo fa con un certo sarcasmo, un certo amore per le piccole cose.
Il velo cala sui segreti di famiglia come un sipario, rivelandoci il meglio e il peggio dell鈥橴omo. Il lettore non pu貌 che assistere a questo piccolo teatro dell鈥檃ssurdo, composto da scene quotidiane realistiche e incomprensibili allo stesso tempo, attendendo una catarsi.
Ci貌 che la Reza trasmette 茅, al termine, l鈥檈terno scorrere della vita che non si ferma davanti a nulla.
February 5, 2016
诏賮鬲诏賵賴丕蹖 倬爻 丕夭 蹖讴 禺丕讴爻倬丕乇蹖 乇賵 亘丕 鬲乇噩賲賴 賮鬲丕丨 賲丨賲丿蹖 禺賵賳丿賲. 亘賴 賳馗乇賲 鬲乇噩賲賴 禺賵亘蹖 賳蹖賵賲丿. 蹖讴 丿爻鬲蹖 賲鬲賳 噩丕賴丕蹖蹖 亘丕 讴賱賲丕鬲 賳丕賴賲诏賵賳 亘丕 賲鬲賳 亘賴 賴賲 賲蹖鈥屫堌必� 讴賴 亘賴 賳馗乇賲 賲蹖鈥屫必驰屫� 亘丕蹖丿 賲卮讴賱 丕夭 鬲乇噩賲賴 亘丕卮賴.
禺丕賱蹖 亘賵丿賳 夭賳丿诏蹖 趩賴丕乇 卮禺氐蹖鬲 亘賴 賳爻亘鬲 噩賵賵賳 丿丕爻鬲丕賳 ( 賳丕鬲丕賳貙丕賱讴爻貙 丕賱蹖夭丕 賵 丕丿蹖鬲) 丿乇 賲賯丕亘賱 丿賵 卮禺氐蹖鬲 賲爻賳鈥屫� (丿丕蹖蹖 賵 夭賳鈥屫й屰�) 亘乇丕蹖 賲賳 鬲讴賵賳 丿賴賳丿賴 亘賵丿. 丌丿賲鈥屬囏й屰� 賳丕讴丕賲 丿乇 毓卮賯 亘丕 夭賳丿诏蹖鈥屬囏й屰� 讴賴 賴蹖趩 趩蹖夭 丿乇爻鬲 賵 丨爻丕亘蹖 鬲毓乇蹖賮卮 賳賲蹖鈥屭┵嗁�. 丌丿賲鈥屬囏й屰� 讴賲蹖 禺卮賲诏蹖賳 亘丕 倬蹖卮鈥屬傌敦з堌€屬囏й屰� 讴賴 丕诏乇 趩賴 亘毓囟蹖鈥屬囏ж促堎� 亘賱丿賳丿 丕噩丕夭賴 丿蹖丿賴 卮丿賳卮 乇賵 賳丿賳丿 丕賲丕 丿乇 賳賴丕蹖鬲 賴賲蹖賳 倬蹖卮鈥屬傌敦з堌€屬囏� 乇丕亘胤賴 賴丕 乇賵 丿趩丕乇 鬲賳卮 賲蹖鈥屭┵嗁�.
亘賴 賳馗乇賲 賲蹖丕丿 讴賱蹖丿 賮賴賲 賳賲丕蹖卮賳丕賲賴 丿乇 丕賵賱蹖賳 氐賮丨賴 賳賴賮鬲賴. 噩丕蹖蹖 讴賴 賳丕鬲丕賳 丿乇 賲乇丕爻賲 禺丕讴爻倬丕乇蹖 倬丿乇卮 賲鬲賳蹖 賲蹖鈥屫堎嗁� 賵 丿乇 丕賵賳 丕夭 夭亘丕賳 賳賵蹖爻賳丿賴 賲鬲賳 賲蹖鈥屭�: 芦賵賯鬲蹖 鈥嵸矩辟� 賲乇丿 ... 禺賵丿 乇丕 丿乇 丿賳蹖丕 鬲賳賴丕 蹖丕賮鬲賲. 趩賳丕賳 鬲賳賴丕 賵 趩賳丕賳 賳丕诏賴丕賳蹖 亘賴 禺賵丿 丌賲丿賴 讴賴 卮蹖胤丕賳 亘賴 爻乇丕睾賲 丌賲丿... 亘賴 丕賵 禺賵卮鈥屫①呚� 诏賮鬲賲貙 丕賵 乇丕 趩賵賳 蹖丕賵乇蹖 賳噩丕鬲鈥屫ㄘ� 蹖丕賮鬲賲 ...禄.賳丕鬲丕賳貙 丕賱讴爻 賵 丕丿蹖鬲 丿乇 噩乇蹖丕賳 賳賲丕蹖卮 丿乇 賲賵賯毓蹖鬲 乇丕賵蹖 賴賲蹖賳 賲鬲賳賳丿 賵 賴乇 讴丿賵賲卮賵賳 亘賴 賳丨賵蹖 亘賴 卮蹖胤丕賳 禺賵卮鈥屫①呚� 賲蹖鈥屭� 鬲丕 禺丕賱蹖 亘賵丿賳 蹖讴 夭賳丿诏蹖 乇賵 鈥嵷ㄘ� 趩蹖夭蹖 倬乇 讴賳賳.
禺丕賱蹖 亘賵丿賳 夭賳丿诏蹖 趩賴丕乇 卮禺氐蹖鬲 亘賴 賳爻亘鬲 噩賵賵賳 丿丕爻鬲丕賳 ( 賳丕鬲丕賳貙丕賱讴爻貙 丕賱蹖夭丕 賵 丕丿蹖鬲) 丿乇 賲賯丕亘賱 丿賵 卮禺氐蹖鬲 賲爻賳鈥屫� (丿丕蹖蹖 賵 夭賳鈥屫й屰�) 亘乇丕蹖 賲賳 鬲讴賵賳 丿賴賳丿賴 亘賵丿. 丌丿賲鈥屬囏й屰� 賳丕讴丕賲 丿乇 毓卮賯 亘丕 夭賳丿诏蹖鈥屬囏й屰� 讴賴 賴蹖趩 趩蹖夭 丿乇爻鬲 賵 丨爻丕亘蹖 鬲毓乇蹖賮卮 賳賲蹖鈥屭┵嗁�. 丌丿賲鈥屬囏й屰� 讴賲蹖 禺卮賲诏蹖賳 亘丕 倬蹖卮鈥屬傌敦з堌€屬囏й屰� 讴賴 丕诏乇 趩賴 亘毓囟蹖鈥屬囏ж促堎� 亘賱丿賳丿 丕噩丕夭賴 丿蹖丿賴 卮丿賳卮 乇賵 賳丿賳丿 丕賲丕 丿乇 賳賴丕蹖鬲 賴賲蹖賳 倬蹖卮鈥屬傌敦з堌€屬囏� 乇丕亘胤賴 賴丕 乇賵 丿趩丕乇 鬲賳卮 賲蹖鈥屭┵嗁�.
亘賴 賳馗乇賲 賲蹖丕丿 讴賱蹖丿 賮賴賲 賳賲丕蹖卮賳丕賲賴 丿乇 丕賵賱蹖賳 氐賮丨賴 賳賴賮鬲賴. 噩丕蹖蹖 讴賴 賳丕鬲丕賳 丿乇 賲乇丕爻賲 禺丕讴爻倬丕乇蹖 倬丿乇卮 賲鬲賳蹖 賲蹖鈥屫堎嗁� 賵 丿乇 丕賵賳 丕夭 夭亘丕賳 賳賵蹖爻賳丿賴 賲鬲賳 賲蹖鈥屭�: 芦賵賯鬲蹖 鈥嵸矩辟� 賲乇丿 ... 禺賵丿 乇丕 丿乇 丿賳蹖丕 鬲賳賴丕 蹖丕賮鬲賲. 趩賳丕賳 鬲賳賴丕 賵 趩賳丕賳 賳丕诏賴丕賳蹖 亘賴 禺賵丿 丌賲丿賴 讴賴 卮蹖胤丕賳 亘賴 爻乇丕睾賲 丌賲丿... 亘賴 丕賵 禺賵卮鈥屫①呚� 诏賮鬲賲貙 丕賵 乇丕 趩賵賳 蹖丕賵乇蹖 賳噩丕鬲鈥屫ㄘ� 蹖丕賮鬲賲 ...禄.賳丕鬲丕賳貙 丕賱讴爻 賵 丕丿蹖鬲 丿乇 噩乇蹖丕賳 賳賲丕蹖卮 丿乇 賲賵賯毓蹖鬲 乇丕賵蹖 賴賲蹖賳 賲鬲賳賳丿 賵 賴乇 讴丿賵賲卮賵賳 亘賴 賳丨賵蹖 亘賴 卮蹖胤丕賳 禺賵卮鈥屫①呚� 賲蹖鈥屭� 鬲丕 禺丕賱蹖 亘賵丿賳 蹖讴 夭賳丿诏蹖 乇賵 鈥嵷ㄘ� 趩蹖夭蹖 倬乇 讴賳賳.
May 14, 2018
賳賲丕蹖卮賳丕賲賴 卮禺氐蹖鬲 賴丕乇賵 丿乇 亘爻鬲乇 "賮賯丿丕賳" 賲毓乇賮蹖 賲蹖讴賳賴. 賴乇讴丿賵賲卮賵賳 丿乇 胤賵賱 丕蹖賳 賲丿鬲 趩蹖夭蹖 乇賵 丕夭 丿爻鬲 丿丕丿賳 賵 亘賴 亘賴賵賳賴 蹖賴 賮賯丿丕賳 賲卮鬲乇讴 讴賴 賲乇诏 倬丿乇 賴爻鬲 丿賵乇 賴賲 噩賲毓 卮丿賳.
賵賯鬲蹖 趩蹖夭蹖 乇賵 丕夭 丿爻鬲 賲蹖丿蹖 卮乇賵毓 賲蹖讴賳蹖 亘賴 噩爻鬲 賵 噩賵 丿乇 诏匕卮鬲賴貙 趩蹖夭蹖 亘丕蹖丿 亘丕卮賴 讴賴 亘賵丿賳卮 丕賳賯丿乇 賲丨讴賲 亘丕卮賴 讴賴 賮賯丿丕賳 丕賲乇賵夭 乇賵 讴賲乇賳诏 讴賳賴.
卮禺氐蹖鬲 賴丕 亘蹖賳 诏賮鬲 賵 诏賵賴丕卮賵賳 賲丿丕賲 亘賴 诏匕卮鬲賴 趩賳诏 賲蹖夭賳賳. 乇賵丕亘胤 賵 鬲氐賲蹖賲丕鬲卮賵賳 乇賵 夭蹖乇 爻賵丕賱 賲蹖亘乇賳貙 丕蹖賳 讴賴 趩蹖 賲蹖禺賵丕爻鬲賳 趩蹖 亘賴 丿爻鬲 丕賵乇丿賳 賵 趩蹖 丕夭 丿爻鬲 丿丕丿賳. 丕賲丕 丿乇 丌禺乇 亘賴 乇賮鬲賳 讴賴 賳夭丿蹖讴 賲蹖卮賳 賴賲賵賳 丌丿賲丕蹖 賯亘賱 賲蹖卮賳. 賲孬賱 丕蹖賳 讴賴 丕蹖賳 禺丕讴爻倬丕乇蹖 蹖賴 丿讴賲賴 倬丕夭 鬲賵 夭賳丿诏蹖 賴乇讴丿賵賲卮賵賳 亘賵丿貙 鬲賵賯賮 讴乇丿賳 亘賴 丕胤乇丕賮 賳诏丕賴 讴乇丿賳 亘丕賴賲 丨乇賮 夭丿賳 丿毓賵丕 讴乇丿賳 亘毓丿 鬲賲丕賲.
丕蹖賳 賳賲丕蹖卮賳丕賲賴 乇賵 禺蹖賱蹖 丿賵爻鬲 丿丕卮鬲賲
賵賯鬲蹖 趩蹖夭蹖 乇賵 丕夭 丿爻鬲 賲蹖丿蹖 卮乇賵毓 賲蹖讴賳蹖 亘賴 噩爻鬲 賵 噩賵 丿乇 诏匕卮鬲賴貙 趩蹖夭蹖 亘丕蹖丿 亘丕卮賴 讴賴 亘賵丿賳卮 丕賳賯丿乇 賲丨讴賲 亘丕卮賴 讴賴 賮賯丿丕賳 丕賲乇賵夭 乇賵 讴賲乇賳诏 讴賳賴.
卮禺氐蹖鬲 賴丕 亘蹖賳 诏賮鬲 賵 诏賵賴丕卮賵賳 賲丿丕賲 亘賴 诏匕卮鬲賴 趩賳诏 賲蹖夭賳賳. 乇賵丕亘胤 賵 鬲氐賲蹖賲丕鬲卮賵賳 乇賵 夭蹖乇 爻賵丕賱 賲蹖亘乇賳貙 丕蹖賳 讴賴 趩蹖 賲蹖禺賵丕爻鬲賳 趩蹖 亘賴 丿爻鬲 丕賵乇丿賳 賵 趩蹖 丕夭 丿爻鬲 丿丕丿賳. 丕賲丕 丿乇 丌禺乇 亘賴 乇賮鬲賳 讴賴 賳夭丿蹖讴 賲蹖卮賳 賴賲賵賳 丌丿賲丕蹖 賯亘賱 賲蹖卮賳. 賲孬賱 丕蹖賳 讴賴 丕蹖賳 禺丕讴爻倬丕乇蹖 蹖賴 丿讴賲賴 倬丕夭 鬲賵 夭賳丿诏蹖 賴乇讴丿賵賲卮賵賳 亘賵丿貙 鬲賵賯賮 讴乇丿賳 亘賴 丕胤乇丕賮 賳诏丕賴 讴乇丿賳 亘丕賴賲 丨乇賮 夭丿賳 丿毓賵丕 讴乇丿賳 亘毓丿 鬲賲丕賲.
丕蹖賳 賳賲丕蹖卮賳丕賲賴 乇賵 禺蹖賱蹖 丿賵爻鬲 丿丕卮鬲賲
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October 18, 2023I know absolutely nothing about playwrights so take everything I say with a grain of salt but I liked how blunt and 'pointless' this was. I felt like the silences and pauses said a lot and carried many of the secrets and thoughts that were not said out loud.
I'd love to see it played.
I'd love to see it played.
December 20, 2024
I read that Conversations After a Burial was Reza's first play, and even though I have only read two others, I could see how much her style has changed.
The play follows six people who come together for Simon Weinberg's funeral. Among these are Weinberg's 50-something-year-old children - Nathan, Edith, and Alex - their uncle Pierre, his wife Julianne, and Alex's ex-mistress Elisa. As is always the case with funerals, weddings, and family gatherings of any kind really, tensions are high and they reveal themselves in sudden explosions and passive-aggressive comments under seemingly nonchalant conversation.
This play has a lot more stage direction and a lot less abstractness. There are many more characters than in The Unexpected Man and 'Art,' and they are much clearer cutouts, none of them straying too much from what was initially written for them. The plot was more structured and linear. If it wasn't for the ending, I would have still loved this one, except it wouldn't have hit me this hard.
So I think I should talk about the ending. It's really the only abstract thing about this play, with Reza moving almost too abruptly from a linear plot about a family fight to a near-transcendental meditation on writing and what story creation feels like. I realise the ending is not super popular on here, but I loved it. For me, it uplifted a straightforward story into something demanding reflection, something a bit odd, something more like what I am used to from Reza.
Other than that, what can I say? Dysfunctional families and self-sabotage are my two favourite genres, and this one has both. I didn't enjoy it as much as the other two, however, for people who are reading her work for the first time, this one is pretty darn good.
The play follows six people who come together for Simon Weinberg's funeral. Among these are Weinberg's 50-something-year-old children - Nathan, Edith, and Alex - their uncle Pierre, his wife Julianne, and Alex's ex-mistress Elisa. As is always the case with funerals, weddings, and family gatherings of any kind really, tensions are high and they reveal themselves in sudden explosions and passive-aggressive comments under seemingly nonchalant conversation.
This play has a lot more stage direction and a lot less abstractness. There are many more characters than in The Unexpected Man and 'Art,' and they are much clearer cutouts, none of them straying too much from what was initially written for them. The plot was more structured and linear. If it wasn't for the ending, I would have still loved this one, except it wouldn't have hit me this hard.
So I think I should talk about the ending. It's really the only abstract thing about this play, with Reza moving almost too abruptly from a linear plot about a family fight to a near-transcendental meditation on writing and what story creation feels like. I realise the ending is not super popular on here, but I loved it. For me, it uplifted a straightforward story into something demanding reflection, something a bit odd, something more like what I am used to from Reza.
Other than that, what can I say? Dysfunctional families and self-sabotage are my two favourite genres, and this one has both. I didn't enjoy it as much as the other two, however, for people who are reading her work for the first time, this one is pretty darn good.
October 26, 2024
鈥淣iente le impedisce di truccarsi e vestirsi鈥�
鈥淧er chi?鈥�
鈥淧er nessuno! Per tutti鈥er se stessa鈥�
4,5猸愶笍
鈥淧er chi?鈥�
鈥淧er nessuno! Per tutti鈥er se stessa鈥�
4,5猸愶笍
June 17, 2024
鈥溍� esattamente questo scrivere, andare in un posto dove non si va鈥� E, qualunque cosa si faccia, sulla pagina bianca ci sono gi脿 il ritorno e la fine dell鈥檃vventura鈥︹€�
Reza completa questo suo primo lavoro tra il 1983 e il 1984, a venticinque anni, una pi猫ce teatrale che mostra, gi脿 dal suo esordio come drammaturga, la capacit脿 di essere essenziale e tagliente utilizzando solo i dialoghi. Ho letto un suo romanzo (Felici i felici), ma credo che lei dia il meglio di s茅 proprio nel genere dei testi teatrali. Non le servono molte parole per far arrivare al lettore i personaggi delle sue tragicommedie, e quanto ho riportato nella citazione iniziale 猫 valido anche per chi la legge: va in un posto dove non 猫 fisicamente.
Entra negli stati d鈥檃nimo degli attori, che sono, in questo caso, due fratelli e una sorella, uno zio con consorte e l鈥檈x compagna di uno dei fratelli riuniti dopo la cerimonia funebre del padre.
Reza ha questa incredibile capacit脿 di usare un linguaggio secco, semplice e diretto che alterna comicit脿- talvolta involontaria - a tragedia, in uno svelamento, qui, di vecchi rancori, frizioni, segreti che non erano nemmeno segreti per tutti. Ho la sensazione che spesso parli di noi meglio di noi stessi.
Insomma, lo stile che chi conosce Reza si aspetta. Se ancora non la conoscete che cosa state aspettando?
Reza completa questo suo primo lavoro tra il 1983 e il 1984, a venticinque anni, una pi猫ce teatrale che mostra, gi脿 dal suo esordio come drammaturga, la capacit脿 di essere essenziale e tagliente utilizzando solo i dialoghi. Ho letto un suo romanzo (Felici i felici), ma credo che lei dia il meglio di s茅 proprio nel genere dei testi teatrali. Non le servono molte parole per far arrivare al lettore i personaggi delle sue tragicommedie, e quanto ho riportato nella citazione iniziale 猫 valido anche per chi la legge: va in un posto dove non 猫 fisicamente.
Entra negli stati d鈥檃nimo degli attori, che sono, in questo caso, due fratelli e una sorella, uno zio con consorte e l鈥檈x compagna di uno dei fratelli riuniti dopo la cerimonia funebre del padre.
Reza ha questa incredibile capacit脿 di usare un linguaggio secco, semplice e diretto che alterna comicit脿- talvolta involontaria - a tragedia, in uno svelamento, qui, di vecchi rancori, frizioni, segreti che non erano nemmeno segreti per tutti. Ho la sensazione che spesso parli di noi meglio di noi stessi.
Insomma, lo stile che chi conosce Reza si aspetta. Se ancora non la conoscete che cosa state aspettando?
January 12, 2015
丕賷賳 鬲乇噩賲賴 卮 乇賵 丕氐賱丕 鬲賵氐賷賴 賳賲賶 賰賳賲
August 21, 2020
No point, no enlightenment, no imagery.
June 17, 2023
Durante il tragitto la donna al mio fianco ha il tuo profumo, ed inevitabilmente non posso far altro che pensarti.
September 27, 2024
Passages qui m'ont plu :
"PIERRE - Optimiste...Je ne pense pas que tu aies choisi le mot appropri茅.
ALEX - Tu as compris. Traduis.
PIERRE - Tu veux dire que je manifeste dans la vie une certaine bonne humeur...Oui...Oui...Mais quand je serai mort, personne n'ira pleurer sur ma tombe pour une cuisse de poulet."
"Nous avons convenu que cette sensation d'锚tre nulle part provenait du soir et de la province."
La lecture est fluide, je me suis laiss茅 prendre par l'atmosph猫re g茅n茅rale de la pi猫ce : l'ambiance de campagne en automne, le parler petit-bourgeois des ann茅es 80, l'humour pince-sans-rire...
Par contre, j'ai 茅t茅 so没l茅 par les clich茅s, les personnages notamment : l'homme sanguin qui pi猫ge les autres avec ces questions et ses remarques, qui met mal 脿 l'aise, et qui se vexe quand on le reprend, le vieux sage excentrique et loufoque, la jeune fille mal 脿 l'aise mais qui bout 脿 l'int茅rieur jusqu'脿 craquer; leur m茅lancolie et leur cynisme.
Le naturalisme des personnages renfor莽ait le c么t茅 clich茅 qui m'a d茅rang茅, c'茅tait plombant.
"PIERRE - Optimiste...Je ne pense pas que tu aies choisi le mot appropri茅.
ALEX - Tu as compris. Traduis.
PIERRE - Tu veux dire que je manifeste dans la vie une certaine bonne humeur...Oui...Oui...Mais quand je serai mort, personne n'ira pleurer sur ma tombe pour une cuisse de poulet."
"Nous avons convenu que cette sensation d'锚tre nulle part provenait du soir et de la province."
La lecture est fluide, je me suis laiss茅 prendre par l'atmosph猫re g茅n茅rale de la pi猫ce : l'ambiance de campagne en automne, le parler petit-bourgeois des ann茅es 80, l'humour pince-sans-rire...
Par contre, j'ai 茅t茅 so没l茅 par les clich茅s, les personnages notamment : l'homme sanguin qui pi猫ge les autres avec ces questions et ses remarques, qui met mal 脿 l'aise, et qui se vexe quand on le reprend, le vieux sage excentrique et loufoque, la jeune fille mal 脿 l'aise mais qui bout 脿 l'int茅rieur jusqu'脿 craquer; leur m茅lancolie et leur cynisme.
Le naturalisme des personnages renfor莽ait le c么t茅 clich茅 qui m'a d茅rang茅, c'茅tait plombant.
This entire review has been hidden because of spoilers.
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January 23, 2025Elisa: "Nathan, credo che non ci rivedremo mai pi霉, devo dirti una cosa...Per tutti questi anni ho avuto un unico pensiero, rivederti, ho avuto un'unica ossessione, rivederti, vederti, sentire la tua voce... Sei stato il mio tormento, sono incapace di amare chiunque altro...".
September 4, 2023
Reza 猫 sempre Reza.
September 7, 2023
3.5 猸愶笍
January 26, 2025
A sort of sober and pointless vibe specific to French literature & befitting the liminal space opened by mourning. Unfortunately I think I killed the usual accompanying wit by reading it in translation鈥�
July 27, 2024
I鈥檝e previously read two of Yasmina Reza鈥檚 plays, Art and The Unexpected Man. Conversations After a Burial is an earlier work, Reza鈥檚 first play, but I read it in Christopher Hampton鈥檚 translation which followed the other two. Conversations After a Burial feels a fully accomplished work, not an apprentice work, Reza having found the form and style that suited her purpose 鈥� although it is possible that the translation has smoothed off any rough edges. As with the later plays, Conversations After a Burial has short scenes and builds the characters through a series of encounters, but there are more characters than the other Reza plays I鈥檝e read and the final scene is, at least in its greater length, a more traditional finale than those found in the other two plays. The head of a family has died and has been buried in the grounds of his house; attending the funeral are his three children 鈥� Nathan, Edith and Alex 鈥� and his brother-in-law Pierre and his wife Julienne. There is also Elisa who once lived with Alex. A lot of the dialogue in the earlier part of the play is very mannered, perhaps stilted, but I presume this is not 鈥榖ad鈥� writing, but an attempt to show the emotional lives of this wealthy milieu. (Also, despite the fact that Elisa once lived with Alex, she is referred to as his former mistress: I presume this term is part of the conservative milieu.) The characters have their encounters and we find out certain things about them (e.g., Alex tends to be bitter, his relationship with Elisa ended after she slept with Nathan, etc), but the central question about Reza鈥檚 plays is, 鈥楢re they inconsequential?鈥� There are no Big Themes, but I don鈥檛 particularly like Big Theme literature. But I am uncertain how interesting the characters are: they are amusing, but are they substantial? Paradoxically, the characters in Conversations After a Burial might be less amusing, but more substantial than the characters in her other plays (that I鈥檝e read)...while they might not provide such juicy roles for the actors. And Reza does seem to have problems in satisfactorily closing her narratives: they are neither satisfactorily closed nor left open in any particularly provoking ways. Conversations After a Burial is the least satisfactory of the three plays by Reza that I鈥檝e read 鈥� although that is allowable as it was her first.
June 23, 2023
Il giorno del funerale del padre, i tre figli 鈥� Nathan, Alex ed 脡dith 鈥� si ritrovano nella tenuta di famiglia, nella Loira, dove l鈥檜omo ha scelto di farsi seppellire. Insieme a loro lo zio Pierre, la sua nuova moglie Julienne e l鈥檈x fidanzata di Alex, 脡lisa.
Libro scelto per me da @titta08 per questo mese per il nostro progetto #c猫unlibroperte. Premetto da subito che i testi teatrali non sono tra i miei generi preferiti e quindi sono dovuta uscire un po' dalla mia comfort zone...il libro 猫 di velocissima lettura, con le sue 89 pagine si legge in meno di un ora e i dialoghi sono scorrevoli e mai noiosi...lo stile dell'autrice 猫 chiaro, permette di vivere in prima persona l'essenza e gli stati d'animo dei suoi personaggi e ha la maestria di saper riunire il tragico e il comico in un tutt'uno...ho apprezzato tantissimo tutta la narrazione e mi sembrava davvero di essere l矛 davanti a loro come una spettatrice silenziosa, ma ho faticato (e fatico tutt'ora) al termine della lettura a capire cosa esattamente la Reza volesse farci effettivamente arrivare, l'argomento base, la tesi, su cui si basa tutta la struttura...
Personalmente ho inteso che volesse puntare su quanto un avvenimento tragico che per ovvi motivi scombussola l'animo, possa far uscire fuori sentimenti e cose non dette che in situazioni "normali" si tende a tenere socchiuse in qualche angolo della mente, vuoi per non creare discussioni, vuoi per non offendere o ferire nessuno...il riuscire a tirare fuori la propria reale essenza senza censure che per貌 viene aperta come il vaso di Pandora da un sentimento di sofferenza al quale non si riesce a combattere e che ti sovrasta in quel momento...non so se la mia interpretazione 猫 corretta o meno, mi sono letta un po' di altre recensioni per capire se il mio punto di vista fosse pi霉 o meno adeguato ma poi ho dato retta alla mia cara amica che dice che il teatro 猫 soggettivo, non a tutti arriva la stessa cosa...ed 猫 questo il bello 鉂わ笍.
Voto= 7 su 10
23/06/2023
Libro scelto per me da @titta08 per questo mese per il nostro progetto #c猫unlibroperte. Premetto da subito che i testi teatrali non sono tra i miei generi preferiti e quindi sono dovuta uscire un po' dalla mia comfort zone...il libro 猫 di velocissima lettura, con le sue 89 pagine si legge in meno di un ora e i dialoghi sono scorrevoli e mai noiosi...lo stile dell'autrice 猫 chiaro, permette di vivere in prima persona l'essenza e gli stati d'animo dei suoi personaggi e ha la maestria di saper riunire il tragico e il comico in un tutt'uno...ho apprezzato tantissimo tutta la narrazione e mi sembrava davvero di essere l矛 davanti a loro come una spettatrice silenziosa, ma ho faticato (e fatico tutt'ora) al termine della lettura a capire cosa esattamente la Reza volesse farci effettivamente arrivare, l'argomento base, la tesi, su cui si basa tutta la struttura...
Personalmente ho inteso che volesse puntare su quanto un avvenimento tragico che per ovvi motivi scombussola l'animo, possa far uscire fuori sentimenti e cose non dette che in situazioni "normali" si tende a tenere socchiuse in qualche angolo della mente, vuoi per non creare discussioni, vuoi per non offendere o ferire nessuno...il riuscire a tirare fuori la propria reale essenza senza censure che per貌 viene aperta come il vaso di Pandora da un sentimento di sofferenza al quale non si riesce a combattere e che ti sovrasta in quel momento...non so se la mia interpretazione 猫 corretta o meno, mi sono letta un po' di altre recensioni per capire se il mio punto di vista fosse pi霉 o meno adeguato ma poi ho dato retta alla mia cara amica che dice che il teatro 猫 soggettivo, non a tutti arriva la stessa cosa...ed 猫 questo il bello 鉂わ笍.
Voto= 7 su 10
23/06/2023
October 5, 2023
Data la fama e la stima di cui gode Reza, mi aspettavo una pi猫ce dal ritmo incalzante, dai toni taglienti e dell'ironia sottile, dialoghi "wit" 脿 la Wilde e assenza di tempi morti.
Lo scritto, invece, 猫 chiaramente un primo lavoro, con un paio di battute riuscite. Per il resto, per貌, sembra sottotono (o io non ho capito l'intento): la riduzione del dialogo a scambi asciutti e essenziali, di per s猫, non 猫 un male, ma qui sembra rasentare, per la maggior parte dello scritto, l'asettico e il monocorde. Per un'opera incentrata non sulla storia ma sul dialogo, insomma, il rischio 猫, pi霉 che l'asciutto, l'insipido.
Sicuramente (come scritto nel retro di copertina) le relazioni e i sentimenti dei personaggi si intuiscono facilmente dalle sole battute: tuttavia, 猫 un elemento essenziale nel teatro.
Andrebbe, naturalmente, visto rappresentato.
Lo scritto, invece, 猫 chiaramente un primo lavoro, con un paio di battute riuscite. Per il resto, per貌, sembra sottotono (o io non ho capito l'intento): la riduzione del dialogo a scambi asciutti e essenziali, di per s猫, non 猫 un male, ma qui sembra rasentare, per la maggior parte dello scritto, l'asettico e il monocorde. Per un'opera incentrata non sulla storia ma sul dialogo, insomma, il rischio 猫, pi霉 che l'asciutto, l'insipido.
Sicuramente (come scritto nel retro di copertina) le relazioni e i sentimenti dei personaggi si intuiscono facilmente dalle sole battute: tuttavia, 猫 un elemento essenziale nel teatro.
Andrebbe, naturalmente, visto rappresentato.
April 20, 2021
Les points positifs :
- La tension entre les personnages donne envie de continuer la lecture, pour savoir si la situation va finir par d茅g茅n茅rer (ou non).
- Quelques passages int茅ressants sur les amours d茅莽ues des personnages.
- Lecture rapide, pi猫ce d'une 茅criture simple qui se lit sans difficult茅.
Les points n茅gatifs :
- Les chamailleries entre les personnages au sujet du caf茅, de la soupe, des chaises, m'ont vite lass茅e.
- Peu d'茅motions (si ce n'est de la mesquinerie) de la part des personnages masculins, alors qu'ils viennent d'enterrer leur p猫re/fr猫re.
- La tirade finale sur ce que c'est qu'茅crire m'a laiss茅e perplexe.
- La tension entre les personnages donne envie de continuer la lecture, pour savoir si la situation va finir par d茅g茅n茅rer (ou non).
- Quelques passages int茅ressants sur les amours d茅莽ues des personnages.
- Lecture rapide, pi猫ce d'une 茅criture simple qui se lit sans difficult茅.
Les points n茅gatifs :
- Les chamailleries entre les personnages au sujet du caf茅, de la soupe, des chaises, m'ont vite lass茅e.
- Peu d'茅motions (si ce n'est de la mesquinerie) de la part des personnages masculins, alors qu'ils viennent d'enterrer leur p猫re/fr猫re.
- La tirade finale sur ce que c'est qu'茅crire m'a laiss茅e perplexe.
February 6, 2020
Une certaine pudeur po茅tique mais j鈥檃voue qu鈥櫭� la simple lecture, la pi猫ce ne m鈥檃 pas du tout touch茅e : le parcours moral des personnages m鈥檃 laiss茅 pratiquement indiff茅rente. Sans doute serait-ce diff茅rent si j鈥檃vais vu la pi猫ce au lieu de la lire car l鈥檃mbiance toute de retenue et de r茅ticences 脿 exprimer directement ses sentiments doit 锚tre bien plus percutante sur la sc猫ne. Peut-锚tre aussi a jou茅 le fait qu鈥檌l s鈥檃git dans cette pi猫ce de quadrag茅naires et sexag茅naires qui ont perdu un parent et qu鈥檃yant une vingtaine d鈥檃nn茅es et des parents bien vivants, je me suis assez peu sentie concern茅e
June 14, 2023
2,5 猸�
Not my cup of tea.
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Si tratta di una piece teatrale che ha pure vinto dei premi. Questo 猫 indicativo di quanto ognuno abbia i suoi gusti.
Come si pu貌 intuire dal titolo, la piece riunisce il tragico e il comico, il serio e il frivolo, la morte e l鈥檃more, la parola e il silenzio.
Le parole che si prestano a descrivere questa dicotomia possono deridere come possono essere assolute, ma alla fine sono sempre qualcosa che arriva a seguito del giorno del funerale, e quindi sono ci貌 che si scontra con il dolore, mettendo a fuoco tutta la banalit脿 che accerchia la sofferenza e la tragedia.
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Interessante, capisco l'entusiasmo, ma non fa per me.
Not my cup of tea.
-
Si tratta di una piece teatrale che ha pure vinto dei premi. Questo 猫 indicativo di quanto ognuno abbia i suoi gusti.
Come si pu貌 intuire dal titolo, la piece riunisce il tragico e il comico, il serio e il frivolo, la morte e l鈥檃more, la parola e il silenzio.
Le parole che si prestano a descrivere questa dicotomia possono deridere come possono essere assolute, ma alla fine sono sempre qualcosa che arriva a seguito del giorno del funerale, e quindi sono ci貌 che si scontra con il dolore, mettendo a fuoco tutta la banalit脿 che accerchia la sofferenza e la tragedia.
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Interessante, capisco l'entusiasmo, ma non fa per me.
June 20, 2016
Yasmina Reza's writing has always fascinated me ever since I saw, and later read, Art. In Conversations, she shows again her wit as a writer and her ability to create wonderful characters that develop and reveal themselves as the story evolves. I'd love to see it on stage sometime.
January 26, 2012
Oh, Yasmina Reza, I love you so! All her plays are so clever. I'm saving Life x 3 because I'm too convinced this woman can do no wrong.
May 16, 2024
Une jolie pi猫ce avec un cynisme amusant
Mais de loin pas aussi profond que les autres pi猫ces de Reza
Mais de loin pas aussi profond que les autres pi猫ces de Reza
March 3, 2024
Dopo la morte di una persona a cui vuoi bene pu貌 succedere di tutto e ti ritrovi nella camera mortuaria o a casa del caro estinto ad ascoltare i discorsi di chi viene a riverire la salma. A volte sono ricordi del benemerito, altre, pi霉 spesso, sono informazioni random insensate e decontestualizzate, fatti propri, vecchi rancori e dolori covati per anni.
Qui non c'猫 una camera mortuaria, ma una famiglia che ha parecchie cose da dirsi. Probabilmente hanno vissuto come monadi per molti anni, per poi ritrovarsi nel periodo antecedente alla morte del padre nella sua casa di campagna. Come ogni famiglia che si rispetti dopo il funerale snocciolano qualche opportuno ricordo ma in realt脿 猫 il surplus che non c'entra nulla a portare avanti la storia. Vecchi rancori e amori vengono raccontati nella casa di campagna, dove il morto 猫 solo un pretesto per tirarli fuori.
Qui non c'猫 una camera mortuaria, ma una famiglia che ha parecchie cose da dirsi. Probabilmente hanno vissuto come monadi per molti anni, per poi ritrovarsi nel periodo antecedente alla morte del padre nella sua casa di campagna. Come ogni famiglia che si rispetti dopo il funerale snocciolano qualche opportuno ricordo ma in realt脿 猫 il surplus che non c'entra nulla a portare avanti la storia. Vecchi rancori e amori vengono raccontati nella casa di campagna, dove il morto 猫 solo un pretesto per tirarli fuori.
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