L'histoire de Tobie et de Sara
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Sous forme de drame en trois actes, Paul Claudel compose L'Histoire de Tobie et de Sara comme un theatre de la voix et de l'image: au milieu de la scene, une tribune, un double choeur de chaque cote qui commente, et un recours continu a la projection et au cinema pour donner "couronnement et perspective" a l'action. A Ninive, Tobie le Vieux, Israelite emmen� captif en Assyrie, demeure fid�le aux rites d'Israel: il nourrit les pauvres, ensevelit les morts, prie "matin et soir". Puis vient l'aveuglement et la ruine. A ses cotes, Anna, son �pouse, fait entendre une plainte vigoureuse et terrienne: elle defends son fils unique, redoute le desert, les brigands, les fleuves et les montagnes. Pourtant Tobie le Jeune part. Un compagnon se pr�sente sous le nom d'Azarias: c'est l'ange Raphael. Entre Ninive et Ecbatane, sur la route de Medie, la piece suit une marche ponctu�e de rencontres et de signes. Dans le Tigre, un poisson surgit; Azarias ordonne de garder le foie et le fiel, et de saler la chair pour le "viatique". Le geste prendra tout son sens lorsque la mission reviendra vers le p�re aveugle: le fils devra "oindre chacun de tes yeux" avec ce sacrement "puiser au fond de l'abime". En parall�le, au dela du desert, a Rages, Sara prie et supplie d'�tre d�livr�e de l'opprobre. On lui jette au visage la mort de "sept hommes l'un apr�s l'autre" venus l'�pouser; dans la chambre nuptiale rode Asmodee, presence "empest�e et affreuse". La nuit des noces devient combat spirituel: un foie et un coeur de poisson brules sur des charbons ardents dressent un rempart que "l'Enfer ne peut outrepasser". Au coeur de l'intrigue, un enjeu concret: dix talents d'argent pur laisses autrefois en depot en Medie, chez Ragu�l, le p�re de Sara (et ailleurs chez Gabelus). L'or, la dette et le voyage traversent ainsi le drame, sans jamais s�parer le materiel du spirituel. Entre m�lop�e des r�citants, mouvements de foule, mimes du chien et du poisson, et retours du latin liturgique, Claudel fai
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