Until Sunday December 5 at the Théâtre des Célestins
From our regional correspondent
“For a long time we believed ourselves to be the victims of a man. In reality, we are victims of a system (…). I want to see how a small community is attacked and which is stiffened against the truth! ” Morgan, a young parishioner victim of sexual abuse by a priest, seems to carry on his shoulders all the essence of The fear (1): this piece written by François Hien, from the Compagnie de l’Harmonie Musicale, seeks to explore in depth the contradictions that inhabit the men of the Church, in full reception of the report from Ciase.
The plot is carried by a simple setting in scene and careful dialogues which gradually draw the portrait of Father Guérin: this priest, put aside by the Church because of his affair with a man, discovered that an affair of pedophilia had been covered by his hierarchy. As he prepares to testify, he is offered to take over a parish on the condition that he agrees to be silent.
Loosely inspired by the Preynat-Barbarin affair, this creation is also the fruit of the meeting between the young playwright and James Alison, an English priest and theologian renowned for his work on homosexuality. The company, which likes to tackle social issues at the heart of delicate debates – their pieces are accompanied by conferences -, this time chooses to inject a lot of nuance, and even a little humor, into the reflections aroused by child crime. in the church.
If the clarity of the play can suffer from broken discussions on a whole series of subjects, this choice makes it possible to identify sincere questions, which subject the figures of the Church – whose interpretation, benevolent, does not reveal any caricature – to a test of truth with themselves. Avoiding the pitfall of satire or moralization, The fear exposes another way: overcoming conflict with words.