{"id":231275,"date":"2025-07-06T21:24:16","date_gmt":"2025-07-06T21:24:16","guid":{"rendered":"https:\/\/www.europesays.com\/fr\/231275\/"},"modified":"2025-07-06T21:24:16","modified_gmt":"2025-07-06T21:24:16","slug":"notre-critique-de-when-i-saw-the-sea-un-miracle-sensible","status":"publish","type":"post","link":"https:\/\/www.europesays.com\/fr\/231275\/","title":{"rendered":"Notre critique de When I Saw the Sea:\u00a0un miracle sensible"},"content":{"rendered":"<p><strong>FESTIVAL D\u2019AVIGNON &#8211;<\/strong> En donnant la parole \u00e0 des femmes africaines, esclaves domestiques des maisons libanaises, Ali Charhour\u00a0compose une pi\u00e8ce si juste qu\u2019elle en impose.<\/p>\n<p class=\"fig-paragraph\">Le th\u00e9\u00e2tre d\u00e9gage par essence un tintamarre \u00e9motionnel.\u00a0<a href=\"http:\/\/www.lefigaro.fr\/vox\/culture\/guy-debord-est-le-penseur-de-la-depossession-de-l-homme-moderne-20220819\" data-fig-type=\"Article\" data-gtm-custom-categorie=\"navigation\" data-gtm-custom-action=\"crossclick\" data-gtm-custom-label=\"Contextuel\" data-gtm-event=\"customEventSPE\" data-fig-domain=\"LEFIGARO\" rel=\"nofollow noopener\" target=\"_blank\">Guy Debord<\/a>\u00a0l\u2019avait pr\u00e9dit\u00a0:\u00a0l\u2019actualit\u00e9 travaille aujourd\u2019hui sur le m\u00eame registre de surench\u00e8re de guerres, de drones, de bombes, de saccages, d\u2019emportements, de promesses, de haines, de chapelles, de causes, de mouvements compassionnels capables de se d\u00e9faire aussi vite qu\u2019ils sont n\u00e9s. L\u2019\u00e9motionnel est \u00e0 la barre avec toute la d\u00e9raison qui s\u2019ensuit. Aussi est-ce avec un respect infini que l\u2019on \u00e9voque ici la cr\u00e9ation d\u2019Ali Charhour.<\/p>\n<p class=\"fig-paragraph\">L\u2019homme est libanais. Il a cr\u00e9\u00e9 sa pi\u00e8ce dans son pays. When I Saw the Sea traite d\u2019une question dramatique sur fond d\u2019une guerre qui ne l\u2019est pas moins. La question du kafala, syst\u00e8me selon lequel des Africaines venues travailler dans les maisons de ma\u00eetres libanais abandonnent leurs droits \u00e0 \u00ab\u00a0Madame\u00a0\u00bb qui les emploie. Leurs droits et plus que \u00e7a\u00a0:\u00a0passeport, vie personnelle, t\u00e9l\u00e9phone&#8230; Tout leur est confisqu\u00e9. Le d\u00e9part des patrons \u00e0 Duba\u00ef ou en Europe depuis la guerre les a laiss\u00e9es\u2026<\/p>\n<p class=\"fig-premium-paywall__infos\">\n        Cet article est r\u00e9serv\u00e9 aux abonn\u00e9s.        Il vous reste 74% \u00e0 d\u00e9couvrir.\n    <\/p>\n<p>                <img  data- alt=\"Le Figaro\" class=\"fig-img--complete fig-img\"\/><\/p>\n<p class=\"fig-premium-paywall__title\">Vous avez envie de lire la suite ?<\/p>\n<p class=\"fig-premium-paywall__subtitle\">D\u00e9bloquez tous les articles imm\u00e9diatement.<\/p>\n<p class=\"fig-premium-paywall__connect\">\n                D\u00e9j\u00e0 abonn\u00e9\u00a0?                <a class=\"fig-premium-paywall__connect-link\" href=\"https:\/\/connect.lefigaro.fr\/login?client=horizon_web&amp;type=main&amp;redirect_uri=https%3A%2F%2Fwww.lefigaro.fr%2Ftheatre%2Fnotre-critique-de-when-i-saw-the-sea-un-miracle-sensible-20250706\" data-js-gtm=\"{&quot;customCategorie&quot;: &quot;conversion&quot;, &quot;customAction&quot;: &quot;before_Landing_Connexion_paywall_auto&quot;, &quot;customLabel&quot;: &quot;bGVmaWdhcm8uZnJfXzFmMDVhNjU1LTI5NTktNmE3Ni1iYmE2LTQ3MzE0ZTJhMzA3Ml9fQXJ0aWNsZQ==_Notre critique de &lt;i&gt;When I Saw the Sea&lt;\/i&gt;:\u00a0un miracle sensible_501&quot;, &quot;customIDSPE&quot;: &quot;bGVmaWdhcm8uZnJfXzFmMDVhNjU1LTI5NTktNmE3Ni1iYmE2LTQ3MzE0ZTJhMzA3Ml9fQXJ0aWNsZQ==&quot;, &quot;event&quot;: &quot;customEventSPE&quot;}\" rel=\"nofollow noopener\" target=\"_blank\"><br \/>\n                    Connectez-vous<br \/>\n                <\/a>\n            <\/p>\n","protected":false},"excerpt":{"rendered":"FESTIVAL D\u2019AVIGNON &#8211; En donnant la parole \u00e0 des femmes africaines, esclaves domestiques des maisons libanaises, Ali Charhour\u00a0compose&hellip;\n","protected":false},"author":2,"featured_media":231276,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1354],"tags":[58,59,16572,1346,1011,27,1360],"class_list":{"0":"post-231275","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-films","8":"tag-divertissement","9":"tag-entertainment","10":"tag-festival-davignon","11":"tag-films","12":"tag-fr","13":"tag-france","14":"tag-movies"},"share_on_mastodon":{"url":"https:\/\/pubeurope.com\/@fr\/114808400725400008","error":""},"_links":{"self":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts\/231275","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/comments?post=231275"}],"version-history":[{"count":0,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/posts\/231275\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/media\/231276"}],"wp:attachment":[{"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/media?parent=231275"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/categories?post=231275"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.europesays.com\/fr\/wp-json\/wp\/v2\/tags?post=231275"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}