Pierre Alferi versus Fanny de Chaillé
Pierre Alferi, writer, makes a scene to Fanny de Chaillé, choregrapher. The roles are more or less shared. Only the thing is, as her first love was sonorous poetry, she is going to want to get involve into the text. And because he hates theatre, he is capable of reading and pretending to steer her.
From such dialogue of deaf, the duo keep the pragmatic skeleton of a scene. If they say everything to each other they say it by periphrases, or under hypnosis. And when the truth, surrounded, will make its comming out between the writer in tutu and the choregrapher with glasses, there is a good chance for it to go wrong.
[…] Seated face to face from each side of a table, Fanny de Chaillé and Pierre Alferi play again to the old couple which daily routine is also the one of the language, the two sets being the link of domestic quarrels. Knowing so well each other until being capable to anticipate what the other is going to say or finish his sentences lead to a marital comedy adjusted with precision and signed a very disturbing play on sentimentels feelings.
On this field, Fanny de Chaillé and Pierre Alferi prove to be perfect duettits, performing a quite funny and acid play. They reflect also their pas de deux to a common sheet music to all the couple that everyone take over and ornament in its own way. And it is funny to see yourself and (almost) hear yourself in the different situations presented by the two protagonists. Tacking between fiction and reality, playing real to believe it’s wrong (or the contrary), to extend by thousand life’s lines and lines, and assoication of ideas that rush into the head at the moment we are speaking and acting, is one of Fanny de Chaillé and Pierre Alferi’s favorite sport in Répète. With always this clinical and playful obcsession of words, of its signification and its sound effects, its semantic galaxy, which sometimes makes french out to be almost a foreign language. […]
Rosita Boisseau in Le Monde – Saturday, March 22th 2014