The show is not finished. The end is not ready, nor is the beginning, for that matter, and on the stage of the Christian-Bérard room, at the Athénée theater in Paris, the actress constantly interrupts herself, dissatisfied. Alone like Maria is a spectacle (falsely) in the making: a spectacle which is being worked on and which is working. We ourselves are not here “real” spectators, as Marilou Aussilloux reminds us from the stage, but the rehearsals who help her give birth. Well seen. Also well written, this two-handed show (by Marilou Aussilloux, therefore, and Théo Askolovitch) around the figure of Maria Schneider, an actress revealed by her role in Last Tango in Paris in 1972.
Last month, faced with the bronca of cinema personalities and feminist associations, the Cinémathèque française had to resign itself to canceling the screening of Bertolucci’s film, in which Marlon Brando (48 years old) simulates sodomy on Maria Schneider (19 years), with butter for lubricant, without having warned her. The scene was not in the script, it will remain on screen where the tears and cries of the actress for Brando to stop
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