One enters with caution in the small hall of the Théâtre Gérard-Philipe. We enter into great silence. We know that it is happening here, these days, a very curious ceremony. In the half-light of a space occupied by a device, bi-frontal, we distinguish, between the two rows of seating in the play area, the tables, the chairs, the piano, candelabra.

On the one side, the table of governance where Sebastian Found distilled his sound composition. Everyone settles quietly, grabbing the headset and hung it on the folder. It is headphones over the ears, in effect, that we will listen to the dramatic poem, the novel in verse of Alexander Pushkin’s Eugene Onegin , in an adaptation data under the simple title, Onegin . We will see, in a close disturbing, as the actors say, to play, to embody this text is splendid and the characters are heartbreaking.

If Jean Bellorini imagined this installation may seem daunting, it is because he wants to be able to lead Onegin on the roads. It …

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