Monsters and monstrosities of Denis Lavant

La persona d'acteur de Denis Lavant semble nou & eacute;e autour de la figure du monstre. C'est d'abord au plan physique que s'exprime sa monstruosit & eacute;. En effet, son visage contrevient aux canons de beaut & eacute; et semble r & eacute;gler une & eacute;conomie de l'apparence port & eacute;e par la marge ou l'inhumain, et par des couples d'oppos & eacute;s. Il t & eacute;moigne de la p & eacute;rennit & eacute; du << sentiment physiognomonique >>, en ce que la laideur physique renvoie & agrave; la noirceur de l'& acirc;me. Le plus int & eacute;ressant dans la figure du monstre de Lavant est d & egrave;s lors la fa & ccedil;on dont elle s'exprime moralement. Ramifi & eacute;e en diverses mani & egrave;res, cette figure prend une forme particuli & egrave;rement r & eacute;currente dans la carri & egrave;re de l'acteur, par la domination masculine qu'il incarne souvent, qui fait aussi & eacute;cho & agrave; certains contextes esth & eacute;tiques o & ugrave; l'acteur s'inscrit et & agrave; d'autres com & eacute;diens. & Agrave; cet & eacute;gard, Lavant a su d & eacute;velopper certains motifs iconographiques et gestuels comme la figure du double, le rire haineux ou encore - & eacute;l & eacute;ment de jeu le plus caract & eacute;ristique de sa monstruosit & eacute; int & eacute;rieure - les mains derri & egrave;re le dos. Ces motifs permettent de signaler une forme de distanciation brechtienne et ainsi, d'une certaine mani & egrave;re, de mettre & agrave; nu le mal commis par les personnages de Lavant. Denis Lavant's actorial persona seems bound up with the figure of the monster. This monstrosity is expressed first and foremost at a physical level. Indeed, the actor's face goes against the canons of beauty and appears as a vector for an economy of appearance driven by the margins or the inhuman, and by pairs of opposites. He is an example of the durability of 'physiognomonic feeling', since his physical ugliness signals a darkness of the soul. The most interesting thing about Lavant's monstrous figure is therefore the moral dimension of its articulation. Manifesting itself in various different ways, this figure takes a particularly recurring form throughout Lavant's career via the masculine domination he often embodies, which also echoes various aesthetic contexts in which the actor is embedded, as well as other actors. In this regard, Lavant has been able to develop certain iconographic and gestural motifs, such as the figure of the double, malicious laughter or - the most characteristic element of his inner monstrosity - the placement of his hand(s) behind his back. These motifs make it possible to distinguish a form of Brechtian distancing and consequently, in a sense, to lay bare the evil committed by Lavant's characters.