With Heinrich von Kleist, Suicide at 34, We are still a stone's throw from the abyss. But from this chasm emanates a lively light, That of a fruitful thought. This is how it is revealed in the essay "on the puppet theater" (1810) where it is ultimately less question of dolls than human condition. Because failing to maintain illusions which serve as crutches, The Prussian poet knows how to treat a dialogue. The one he leads with Mr. C, Dancer at the Opera, Stigns to put man back in his place: which is not the center of the world but a periphery where other species grow. Described as "piece of sparkling philosophy as reason and grace", This precious precise dramaturgy testifies that it is no other alternative than original innocence or divine omniscience.
Supported by a shock crew, Gilles Lambert takes control of a high -flying reflection here rich in philosophical dizziness.