We reported on our Twitter account , the article Alain Beuve-Mery and Florence Noiville published in Le Monde of January 21, 2011, entitled " When writing eludes " and subtitled "The famous vertigo of the blank page does not spare the writers confirmed . All elaborate stratagems to confront .
In the introduction, the authors speak of the blank page as if it was "a shameful disease the writer: the blackout, blocking, spectrum ... hideous." Then they take the case of Gao Xingjian , Nobel Literature 2000, as an example of a great writer a victim of this "disease . While acknowledging that its inks presented at the Galerie Claude Bernard are " beautiful," they argue that Gao Xingjian is no longer in the news for his writings. "As if they write, after the masterly Mountain Soul (written in 1990 and published in the Dawn in 2002 (sic), the Nobel Prize that was awarded just after Book One Man (Dawn 2000), had drained his literary creativity . Besides the fact that The Mountain Soul is not released in France in 2002 but 1995, it is incorrect to state that Gao Xingjian is facing a kind of syndrome blank page. In fact, Gao Xingjian, as he said during the discussion I moderated at B IP Beaubourg the January 17, began painting early on and the paint is to him a form of expression as important as literary writing, cinema or theater writing. It clearly knows nothing about Gao Xingjian to think he could "be down . Except for a brief period following the award of the Nobel Prize in which he fell seriously ill, he never ceased to create or write, for example, theoretical texts about the creation and theater ( two volumes published in Hong Kong and Taiwan, in translation by Editions du Seuil). Whether one thinks of the beautiful object of art he has published editions du Seuil in 2002 entitled The Wandering the bird or libretto for a dance performance entitled Ballade Nocturne (Paris, Sylph Editions, translated by Claire Conceison), the play the collector's death (Le Seuil, 2004), Gao Xingjian is far from silent. Far
modes and chapels, he created as he sees fit, if the novel form does not express what he wants, he devoted himself entirely to painting, then, when he completed his paintings for a exhibition in Singapore, Hong Kong or Paris, he wrote poems and texts in which he develops a very personal theory on the actor's art or the role of literature. After having written and staged a magnificent opera Snow in August the in 2003 and 2005 to Taiwan then Marseille, with music by Xu Shuya (music is probably the only art he does not practice), he began making films completely atypical.
Finally, the article by Alain Beuve-Mery and Florence Noiville suggests that Gao Xingjian is suffering from a deadlock situation. I do not think the large audience who came to listen to the BPI Beaubourg had that impression. Well On the contrary, he seemed totally radiant, almost serene, when he explained how the practice of different art forms enabled him to better express themselves. For him it is only a matter of time in his creative life. Currently, the period of filmmaking, maybe soon ... poetic Gao Xingjian is both writer, painter, theorist, filmmaker, director, theorist of literary, artistic and theatrical ... The phenomenon is probably too rare to reach that critical to grasp in its entirety.
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