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"Laurenzaccio", a clown tragedy from the age of 16 years old.

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For:For the age of 16 years old.
Description:The prices indicated do not include copyright payments (SACD- SACEM) which may depend on the contracts you have with these various organizations.
Number of actors:1 performer + 1 director + 1 technician.
Duration:1 hour 20 minutes.

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"Le Bateau Ivre" company presents "Laurenzaccio".
Clownesque tragedy from the age of 16, directed by Mario Gonzalez and performed by Philippe Pillavoine.
Textual material: Alfred de Musset, George Sand, Mario Gonzalez and Philippe Pillavoine.
With the support of the City of Melun (77), the Bains Douches de Périgueux (24), the Théâtre de l'Enfumeraie d'Allonnes (72), the Théâtre la Coupole de Saint-Louis (68) and the company Barrisol.

Let yourself be told the true story of Alexandre de Médicis, by the clown Laurent, played by Philippe Pillavoine and directed by Mario Gonzalez. The facts were reported by the historiographer Benedetto Varchi around the middle of the 16th century. In 1830, George Sand took the event back to make it a historical scene entitled "Une conspiration en 1537". Three years later, she offered her work as a gift to Alfred de Musset, the lady's lover at the time. "Lorenzaccio" was born of this generous gift.
Alexandre de Médicis lived in 1536 in Italy, in Florence, the superb, the mythical. Emperor Charles V and Pope Clement VII (legend had it that he was Alexander's father) had imposed him on the Florentines by proclaiming him Duke of the city. At the age of 26, he reigned as a tyrant who also wanted a people who "held themselves wise". He had a lot to do between the great Florentine families who were plotting for his overthrow and the students who were demonstrating for a new political regime. In a word, vigilance was required to govern this seditious people who were eager to regain their sovereignty. Alexander did not gouge the eyes of his political opponents, he hung them. Alexander did not tear the hands of his disgruntled and hateful protesters, he took them alive, sometimes even poisoned them. To protect him, Alexander also had a man he trusted. His name was Giomo. With the ducal blessing, the latter possessed more than extensive power. Giomo could do anything he wanted to do, even killing a subject, without even knowing why. In order to prevent any popular uprising, Alexander also monitored his population, but through the eyes of the German soldiers paid to Emperor Charles V.
In great idleness, as his aristocratic class wanted, Alexander hunted, feasted, deflowered at leisure, but above all played a cruel game that he favoured among all: humiliation. Alexander considered his constituents as mere objects that he had to possess in their deepest intimacy. This treacherous and insidious humiliation had a devastating impact. It allowed him to enslave the Florentines with formidable efficiency. She annihilated among her opponents all thoughts, all desires, all desires for insurrection. At least he assumed so. Because, in the shade, some rebellion centres were smouldering. A few embers were only asking for a wind of revolt to set the whole duchy on fire. The idea that "fools lived behind the walls of the palace" crept into the minds of the clear-sighted and awake spirits.
Because of his vanity and a certain feeling of over-power, Alexander lost vision, lucidity and awareness. He could not see the shadow of the sketch of the beginning of the beginning of the beginning of a discontent. He could not smother any fires he ignored, denied, yet coiled close to him. With determination, Alexander was frantically running for his loss.

Philippe Strozzi, the patriarch of one of the great Florentine families, dreamed of a Republic. His son, Philippe, was plotting a government overthrow with the military assistance of Francis I, Charles V's sworn enemy. The Marquise Cibo (a character invented by Alfred de Musset), with the implicit consent of her husband, by responding favourably to Alexander's advances, was keen to change him. Thanks to her voluptuous promiscuity with the Duke, she imagined.
But a more imperceptible home was smouldering in the depths of the soul of one of his close relatives. Alexandre shared with him his roof, his meals, his conquests (without any distinction of sex or age), his horse, even his bed. His name was Lorenzo de Medici. It was his cousin. Once a brilliant student who enjoyed science and the arts, he was also promised the throne. Unfortunately, we had preferred Alexandre, who was more of a weapons lover.
Lorenzo was born with fierce jealousy, a repressed but no less blood-red anger. He intimately decreed that he was "although tyrants are killed". Lorenzo started the mesh of his ambush in the dark. To gain Alexander's trust, he played the mirror. He modeled himself after Alexander. Having become his double, he sometimes anticipated the actions and thoughts of the original. This unhealthy scheme led him to the Duke's death but also to his own downfall. Lorenzo became vicious, cowardly, an object of shame (for his mother for example) and stigma. The people called him Lorenzaccio, Lorenzo the dog. Realistic about the true nature of humanity, he assumed that his political assassination would be useless. The Florentines were not prepared for a real and profound change. However, Lorenzo went to the end of his deception. This murder was his only salvation. He hoped to find a semblance of self-esteem, happiness and calm in the turpitude of his gesture.
Feeling the coldness of the steel blade that pierced him, the Duke would have cried out "Ah ! Lorenzo, I didn't expect that from you! "Refuting the betrayal, looking for the right word with panache, Lorenzo would have replied "On the contrary, you have been waiting too long for him! "Alexander dies, Lorenzo runs away, starting his crazy, long runaway. It lasted ten years and took him from Florence to Constantinople, passing through France and ending in Venice. His head was put under a price by the new power that had hastened to place a new Medicis on the throne: Cosme of his first name. Then on a dark day, a man came to the Door of the Palace of the Medicis. He claimed the "reward". The story doesn't say his name, his age, or where he came from. It is not known whether he was able to take advantage of the graces that his patriotic act promised him. Perhaps the tyranny of power has also overpowered him...

"It's dark, it's raw, it's terribly tragic and desperately funny.
The more horrible the crime, the more protected we are from it by laughter."

How many deaths in this clown narrative will you tell us? But don't forget... this story is also a tragedy. The centuries have passed. Tyrants and protesters always behave in the same way. "When you do what you've always done, you get what you've always got! "The time has come to change the way we view the world, think, act and live. We need to transform a volcanic revolution into a glacial revolution. A real highlight when it comes to global warming!

We, hear the company "Le Bateau Ivre", which produces and proposes this show, believe that representation and artistic practice can contribute to it. "Laurenzaccio" is for us a complete work of art. It deals with politics, subjectivity, personal development, violent and non-violent communication, class, conflict, cunning, sincerity, hypocrisy, love, hatred, youth, old age, generational conflicts, honour, life, death, the future and the past. "Laurenzaccio" was written by people who were diametrically opposed but who were united by art and love. Alfred de Musset was the worthy heir to a "bitter caste" (no pun intended). He abhorred the bourgeoisie who had decimated his aristocratic environment in the last century. His great wound is expressed in The confession of a child of the century "All that was is no longer; all that will be is not yet. Do not look elsewhere for the secret of our evils. ». Alfred, a child protected by his mother and older brother, gets lost in alcohol and debauchery. He changes his mistress at every Carnival. He is a "chameleon" lover who, in order to seduce, plays into the game of his prey. De Musset writes commissioned short stories to live and poems to stay in childhood. On a day of drunkenness, he raped his servant. It is subject to autoscopic phenomena. The poems Les nuits in particular will testify to this. His life feeds his poems. Then his works contaminated his life. Alfred would have loved to be a woman and at parties would gloat about dressing like them. From 1833, and for his entire life, he was marked with a red-hot iron by the lost love he had for George Sand. It is in no way like him and is rather his counterpart. She dresses like a boy and will have returned her love a hundredfold. George wrote to him, "There is one holy and sublime thing in the world, it is the union of two of these beings so imperfect. "Alfred will repeat these words in Don't play with love. George was intensely offered to love. Very early on, she chose emancipation, freedom, autonomy, breaking with the patriarchal saying. She will have lived from her job as a writer. George, whose real name was Aurore, worked for the cause of women and then for the working classes. As in 1848, when power tyrannized the lower classes.
This union of two such different and complementary personalities gives "Laurenzaccio" such a rich dimension of emotions, human depth and dramatic intensity that "Le Bateau Ivre" could not fail to offer it to the public. It would have been an unforgivable failure that the Melunaise company (which celebrated its 25th anniversary) could not handle!

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"Laurenzaccio", a clown tragedy from the age of 16 years old.