{"id":10642,"date":"2026-10-17T09:58:35","date_gmt":"2026-10-17T07:58:35","guid":{"rendered":"https:\/\/great-artmag.com\/?p=10642"},"modified":"2026-10-17T10:08:39","modified_gmt":"2026-10-17T08:08:39","slug":"la-fin-des-temps-au-chatelet-decoufle-murakami","status":"publish","type":"post","link":"https:\/\/great-artmag.com\/en\/la-fin-des-temps-au-chatelet-decoufle-murakami\/","title":{"rendered":"La Fin des temps au Ch\u00e2telet : quand la f\u00e9erie de Philippe Decoufl\u00e9 r\u00e9enchante Haruki Murakami"},"content":{"rendered":"

Le Th\u00e9\u00e2tre du Ch\u00e2telet \u00e0 Paris accueille une cr\u00e9ation sc\u00e9nique d’exception : La Fin des temps<\/em>, un spectacle adapt\u00e9 du roman culte d’Haruki Murakami par Philippe Decoufl\u00e9. Cette rencontre entre la po\u00e9sie visuelle du chor\u00e9graphe fran\u00e7ais (64 ans) et l’univers fantastique du romancier japonais (77 ans) insuffle une v\u00e9ritable f\u00e9erie sc\u00e9nique au r\u00e9cit nippon. Du 16 au 21 octobre 2026.<\/strong><\/p>\n

“Ce qu’offre le mouvement, c’est un regard augment\u00e9 sur le personnaGe.” Decoufl\u00e9<\/p><\/blockquote>\n

\"Les
Les t\u00e9n\u00e9brides, ces monstres du sous-sol : “une corpor\u00e9it\u00e9 \u00e0 la fois fourmillante et \u00e9lectrique” explique Decoufl\u00e9. Des costumes sign\u00e9s Ayako Maeda \u00a9 Thomas Amouroux<\/figcaption><\/figure>\n

Decoufl\u00e9 \/ Murakami : La rencontre entre deux g\u00e9ants de la cr\u00e9ation contemporaine<\/h3>\n

S\u00e9par\u00e9s par leur discipline mais unis par une m\u00eame po\u00e9sie hors du commun, les deux artistes se rejoignent dans un univers d’une originalit\u00e9 et d’une beaut\u00e9 esth\u00e9tique frappantes. Philippe Decoufl\u00e9, r\u00e9v\u00e9l\u00e9 au grand public mondial par la f\u00e9erie visuelle des c\u00e9r\u00e9monies des Jeux Olympiques d’Albertville en 1992, retrouve ici le style fantastique et surr\u00e9aliste d’Haruki Murakami, devenu un ph\u00e9nom\u00e8ne litt\u00e9raire international gr\u00e2ce au succ\u00e8s de La Ballade de l’impossible<\/i> (1987) puis de 1Q84<\/i>. Sur la sc\u00e8ne du Th\u00e9\u00e2tre du Ch\u00e2telet, la danse contemporaine, les illusions optiques et l’humour burlesque du chor\u00e9graphe fran\u00e7ais \u00e9pousent la m\u00e9lancolie myst\u00e9rieuse de l’\u00e9crivain japonais. Ce dialogue artistique donne naissance \u00e0 une \u0153uvre hybride o\u00f9 la magie des tableaux vivants transcende le texte original pour cr\u00e9er un enchantement de chaque instant.<\/p>\n

Un voyage hypnotique entre deux mondes parall\u00e8les et une identit\u00e9 \u00e9clat\u00e9e<\/h3>\n

Sur sc\u00e8ne, l\u2019action se d\u00e9ploie dans deux mondes parall\u00e8les m\u00e9tamorphos\u00e9s par la magie du plateau. D\u2019un c\u00f4t\u00e9, une cit\u00e9 \u00e9trange o\u00f9 les habitants vivent s\u00e9par\u00e9s de leur ombre et de leurs \u00e9motions. De l\u2019autre, un Tokyo futuriste, souterrain et inqui\u00e9tant, peupl\u00e9 de figures \u00e9nigmatiques (informaticien en pleine cybergu\u00e9rilla, vieux professeur et sa petite-fille Pink, liseur de r\u00eaves sans ombre, licornes et biblioth\u00e9caire). Entre ces deux espaces circule un homme confront\u00e9 \u00e0 la perte, au souvenir d\u2019un amour \u00e9teint, et \u00e0 la perspective d\u2019une disparition de soi. Neuf acteurs et dix danseurs \u00e9voluent dans un espace mouvant, travers\u00e9 de m\u00e9tamorphoses po\u00e9tiques. L\u2019une des trouvailles les plus f\u00e9condes de l’adaptation consiste \u00e0 fragmenter le personnage principal en plusieurs incarnations : le \u00ab je \u00bb, le \u00ab moi \u00bb et l\u2019ombre deviennent autant de projections d\u2019une identit\u00e9 \u00e9clat\u00e9e. La danse devient alors un langage privil\u00e9gi\u00e9 pour r\u00e9enchanter l\u2019instabilit\u00e9 du r\u00eave, la fragmentation du souvenir et la porosit\u00e9 entre les mondes.<\/p>\n

\"D\u00e9doublements,
D\u00e9doublements, ombres chinoises et trompe-l\u2019\u0153il virtuels : la technologie num\u00e9rique comme vecteur privil\u00e9gi\u00e9 de l\u2019identit\u00e9 \u00e9clat\u00e9e du h\u00e9ros. \u00a9 Thomas Amouroux<\/figcaption><\/figure>\n

Une polyphonie sc\u00e9nique vibrante… r\u00e9serv\u00e9e aux spectateurs avertis ?<\/h3>\n

Pour parfaire ce voyage f\u00e9erique au c\u0153ur de la litt\u00e9rature nippone, la voix et le verbe occupent une place centrale : les acteurs s’expriment en japonais, ce qui apporte une ind\u00e9niable authenticit\u00e9 et une musicalit\u00e9 envo\u00fbtante au r\u00e9cit. Cependant, cette radicalit\u00e9 linguistique constitue un pi\u00e8ge pour le spectateur non averti. Si l’on n’a pas lu les 700 pages du roman ou pris le soin d’\u00e9tudier minutieusement le synopsis avant la repr\u00e9sentation, on risque de se retrouver perdu dans le fil de l’histoire malgr\u00e9 les petits \u00e9crans de sur-titrage en fran\u00e7ais. Cet enchantement sc\u00e9nique fera l’objet d’une tourn\u00e9e internationale de Tokyo \u00e0 Londres.<\/p>\n

> R\u00e9servations chatelet.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Le Th\u00e9\u00e2tre du Ch\u00e2telet \u00e0 Paris accueille une cr\u00e9ation sc\u00e9nique d’exception : La Fin des temps, un spectacle adapt\u00e9 du roman culte d’Haruki Murakami par Philippe Decoufl\u00e9. Cette rencontre entre la po\u00e9sie visuelle du chor\u00e9graphe fran\u00e7ais (64 ans) et l’univers fantastique du romancier japonais (77 ans) insuffle une v\u00e9ritable f\u00e9erie sc\u00e9nique au r\u00e9cit nippon. Du […]<\/p>\n","protected":false},"author":1,"featured_media":10645,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[1334],"tags":[1433,1670,1275],"class_list":["post-10642","post","type-post","status-publish","format-standard","has-post-thumbnail","category-theatre-spectacles_vivants","tag-danse","tag-decoufle","tag-poesie"],"yoast_head":"\nLa Fin des temps au Ch\u00e2telet : quand la f\u00e9erie de Philippe Decoufl\u00e9 r\u00e9enchante Haruki Murakami - GREAT-ARTMAG<\/title>\n<meta name=\"description\" content=\"A Th\u00e9\u00e2tre du Ch\u00e2telet \u00e0 Paris : "La Fin des temps", un spectacle adapt\u00e9 du roman d'Haruki Murakami par Philippe Decoufl\u00e9.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/great-artmag.com\/en\/la-fin-des-temps-au-chatelet-decoufle-murakami\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"La Fin des temps au Ch\u00e2telet : quand la f\u00e9erie de Philippe Decoufl\u00e9 r\u00e9enchante Haruki Murakami - 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