MB: I'm opening a little digression again, these are things I've already said, perhaps differently, but I'm giving you a little reminder, when you talk to me about all that, you're in the process of
to confront your feeling, your understanding of the game, so for most of you, if not almost all of you, largely supported by the madits, therefore by the words of Max Valentin, you are in the process of confronting that with
what I translate to you as my feelings and my understanding of the game.
You are making a comparison between these two...not these two versions, but these two sensations, these two origins, these two comments that we can make, that he was able to make, and that I brings it myself, what you absolutely must not forget, because it is an absolute reality, you absolutely must convince yourself, is that the character of Max Valentin was created at the same time as the story of the Golden Owl is that Max Valentin did not exist.
The nickname itself had not been considered when we started the game, and the role played by Max Valentin, master of the game, provoked in him behavior, attitudes, comments that were not those of someone someone who is totally neutral, totally in control of his reactions, totally cold, he's someone who was in a role, you have to think of a character on a theater stage who goes to something during a rehearsal, who is we will say convincing but without more, I personally had the opportunity to attend it was for the opera Lucia di Lammermoor in Avignon when I painted the whole series of paintings that I was able to do, I attended all the rehearsals and performances.
And I was able to measure the difference there is with the same, obviously, the same performers, between rehearsal sessions, between the premiere, the general and then some performances that followed, it's never the same thing and when you think of Max Valentin, you have to think that when Max Valentin responded, Max Valentin was on stage, he was a character who was on stage, who played the role of master of the game and that it intoxicated him , when the audience applauds, when the audience laughs, when the audience cries, the actor puts much more, much more of himself, much more influence, much more conviction, much more enthusiasm into the performance than 'he produces and that's what Max Valentin did with you, with the players, he gave at certain moments, he was so much on stage that he completely let go and that's what we're on we're all working today, and that's what we're trying to clean up inside.
So we speak well when we talk about madits, when we talk about the concepts that he validated and developed to the limit and encouraged, when we talk about that, we talk about a character who was on stage and who therefore used all the artifices that an actor can use to convince, to make people laugh, to make people cry, to move people or to intrigue and so he used all that.
I think there are a few people in the audience who do theater and who won't contradict me.
You are making a comparison between these two...not these two versions, but these two sensations, these two origins, these two comments that we can make, that he was able to make, and that I brings it myself, what you absolutely must not forget, because it is an absolute reality, you absolutely must convince yourself, is that the character of Max Valentin was created at the same time as the story of the Golden Owl is that Max Valentin did not exist.
The nickname itself had not been considered when we started the game, and the role played by Max Valentin, master of the game, provoked in him behavior, attitudes, comments that were not those of someone someone who is totally neutral, totally in control of his reactions, totally cold, he's someone who was in a role, you have to think of a character on a theater stage who goes to something during a rehearsal, who is we will say convincing but without more, I personally had the opportunity to attend it was for the opera Lucia di Lammermoor in Avignon when I painted the whole series of paintings that I was able to do, I attended all the rehearsals and performances.
And I was able to measure the difference there is with the same, obviously, the same performers, between rehearsal sessions, between the premiere, the general and then some performances that followed, it's never the same thing and when you think of Max Valentin, you have to think that when Max Valentin responded, Max Valentin was on stage, he was a character who was on stage, who played the role of master of the game and that it intoxicated him , when the audience applauds, when the audience laughs, when the audience cries, the actor puts much more, much more of himself, much more influence, much more conviction, much more enthusiasm into the performance than 'he produces and that's what Max Valentin did with you, with the players, he gave at certain moments, he was so much on stage that he completely let go and that's what we're on we're all working today, and that's what we're trying to clean up inside.
So we speak well when we talk about madits, when we talk about the concepts that he validated and developed to the limit and encouraged, when we talk about that, we talk about a character who was on stage and who therefore used all the artifices that an actor can use to convince, to make people laugh, to make people cry, to move people or to intrigue and so he used all that.
I think there are a few people in the audience who do theater and who won't contradict me.