Marivaux. Creation Theatre du Peuple, Bussang, July 2005.
William Vincent played the game of disguise and excess, in a reading room which is fully justified, even if it may offend some viewers accustomed to classical or romantic vision of Marivaux. The knight in red coat and black leather thigh boots, Lelio plumed rooster all in black, lackeys, Trivelin, Frontin and Arlequin, decked out in animal masks clown or attributes, the Countess of whipped under his red hair, six characters who find themselves and destitute, behind the scenes en route, perhaps to the truth of feelings (...).
The assembly is carried by these six actors who seize the language of Marivaux with a nice highlight. We reserve a special mention to Pauline Lorillard (...). The knight is her, and her presence and finesse of his game are that we can safely predict for him a bright future. With these six, the False Next find the acuity of his insight on the black eternal game of interest and desire.
Fabienne Darge - The World
Projecting Marivaux's plot in the crazy atmosphere of a techno party in disguise, succeeds William Vincent's tour de force not to deviate an inch About the author while riding with the most freedoms. Under lightning strobes, Marivaux's characters begin to tu our present. Saucy servants and sour, it is obscene and arrogant clowns who spend their time abusing their teachers, to drink beer and piss on the stage. As for the "fake following" one who pretends to be a man to come closer to one with whom she is supposed to marry, it seems aptly wearing the mask of a wolf and Little Red Riding Hood's cape.
remains between the evocation of a squat trash and smashed a disguised version of Alice in Wonderland, the text as a treasure, rutile all its complexities. Guillaume Vincent and transforms his charge of irreverence into a real coup. "
Patrick Deaf - Les Inrockuptibles
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