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The theater does not exist that life

She cries

At her side he does not notice it

She cries

He does not notice it

She cries from the beginning touched by the fragility of this man

She cries upset by what it is made enduring to this being on the border line in front of her

She's crying now because nurses treat him like that

Sitting next he did not see her

Because he is also upset

Because the nurses treat him like that like that yes like that how

The theater does not exist any more

That life

Thus she cries for what the nurses impose to him for her a victim now not an actor no more an

actor

After she says to him after the representation

She says to him he was not nasty

For her right away he was only a helpless being as a child at night

The theater does not exist any more

That life

What exists it is this

What this

This This terrible way of treating the others the other-livings to treat them as

As what

As if they were not human beings tres humains seres humanos

As animals machines to repair your machine has broken down you understand you understand

you cannot understand you cannot you are irresponsible

Theater does not exist

That life

What exists this is that it is that

What

That

This scene in this theater incredibly violent

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What is this scene

That's this a human Being a ser humano an tre humain a man not a puppet a being who has just

crossed the line

That just relive this event in his life

This crossing of the line the crossing of the gate of the subway in pursuit of this young woman that

he attacks that he attacks

You can not use other words in other times it would have been her fault not to him in short

Why was she wearing garters

She cries by the fact that the nurses not the actresses the nurses make him undergo at his turn

An aggression terrible

As him

Without wanting to hurt him

As him

In all innocence

The theater does not exist

That life

We are again in the fifth floor of the theater of Nice in the rehearsal room where these nurses the

actresses of the play come just to lead us

Now they are doing to undergo to Paul In the fetishist this terrible ordeal of this inconceivably

violence

The theater does not exist

That life

To Paul not a puppet to Paul the fetishist who just tell them in a hilarious way in a his hilarious

his misadventure in the subway in pursuit of this young woman because he glimpsed that she had a

garter belt from whom he demanded and got the garter that he returns it triumphantly to his wife

says he who does not understand who cries

This story so excited him that nurses believe that there is only by this means

What means

This means that fire hose to calm him To put out this exaltation

She cries at his side he does not see her because he is upset by this means used

The theater does not exist

That life

In front of them not this enlightened well of " the connoisseur " but a ditch a corridor a ditch that

of Kolyma of Auschwitz Of Rodez a ditch a corridor a corridor that of the infirmary of the labor

camp of the kolyma Of the extermination camp of Auschwitz of the camp of slow death of the

asylum of Rodez Of the asylum of Rodez where Artaud starves with all the other-livings those who

go too fast who cross the line of border the border line the border between what and what

between life and life

He has always been afraid of the body him

Paul the fetishist

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It is true the naked body has an aura a mystery the naked body in its nudity is so fragile the

naked body of the woman which we like who sleeps that we discover to the bends of a dream in

the light let us have not fear of clichs in the light of the moon so abandoned so helpless so

deprived so beautiful in its fragile nudity which palpitates

Him

The fetishist he is afraid of it in fact he does not know it but he likes it this bodyHe believes he loves clothes he believes the body is only a clothes-stand a coat stand

So why bras panties garters fascinate him why he does not like the clothes of men which do him

faint he says

Because he loves women veiled women veiled by a hat veil

He would have been happy at the end of the nineteenth century at that time impossible to see not

even one inch of the skin of a woman he came too late in the twentieth century where the clothing

of women has the same function always to stimulate the dreams of the female body to men and

also to hide enough either completely this terrible fragility of these bodies when they are

completely nakedShe cries he does not see

She will tell him after the end

The end of what

From the representation of "the fetishist"

This deeply moving fragility of the naked body which the nurse reveals when she washes him

At the instant it is no more than a helpless child Paul

Tap tap tap tap

Here is it starts

Tap tap tap

This is the sound of heels the sound of heels down the hall of the infirmary of the Kolyma of

Auschwitz of the asylum of Rodez

Tap tap tap

Throughout the performance there will be this tap tap tap before us but also behind us when the

nurse moves from side courtyard to side garden to enter by one side or the other

Tap tap tap

As soon as he hears it Paul the fetishist in his asylum the man who loves women in clothes inunderwear this tap tap tap he shrinks he curls up frightened when he hears her

She

The nurse very professional very straight very nursing nurse he is no more than that

That what

That which should be treated by this nurse

This man lapsed into one's second chilhood

Tap tap tap

The sound of heels of all the heels of all the prisons all the asylums all the camps

Tap tap tap

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Where are you taking me where are you taking me

Tap tap tap

The sound of heels

Tap tap tap

The theater does not existThat life

Where are you taking me where are you taking me

Tap tap tap

The sound of the heels of all the prisons all the asylums all the camps t

Tap tap tap

The life one hour

The life a whole life within one hour

Tap tap tap

The theater is the poetry of the space thus of time thus of life

Tap tap tap

The theater of the life within one hour

Tap tap tap

The theater does not exist

That life

Tap tap tap Tap tap tap Tap tap tap tap tap