Symfony Profiler

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    -authenticator: App\Security\OAuthAuthenticator {#320 …}
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  Symfony\Component\Security\Http\Authenticator\Debug\TraceableAuthenticator {#315
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    -duration: null
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    -authenticated: null
    -exception: null
    -authenticator: Symfony\Component\Ldap\Security\LdapAuthenticator {#243 …}
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  Symfony\Component\Security\Http\Authenticator\Debug\TraceableAuthenticator {#322
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    -duration: null
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"""
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Roland";}s:37:"\x00App\Model\Notice\x00directorsReferenced";a:0:{}s:23:"\x00App\Model\Notice\x00dates";a:1:{i:0;s:4:"1988";}s:32:"\x00App\Model\Notice\x00publishedDates";a:1:{i:0;s:4:"1988";}s:34:"\x00App\Model\Notice\x00maxPublishedDate";N;s:28:"\x00App\Model\Notice\x00otherDates";a:0:{}s:24:"\x00App\Model\Notice\x00resume";a:1:{i:0;s:1400:""Je suis maintenant un vieil homme et, comme beaucoup d'habitants de notre vieille Europe, la première partie de ma vie a été assez mouvementée", disait Claude Simon dans son "Discours de Stockholm", en décembre 1985. Révolution espagnole, Seconde Guerre mondiale, camps de prisonniers, évasion, maladies, voyages : de ces composantes, brièvement évoquées, d'une vie "assez mouvementée", le prix Nobel de littérature se refusait à tirer d'autre conclusion que celle-ci : "Je n'ai encore, à soixante-douze ans, découvert aucun sens à tout cela. Comme on voit, je n'ai rien à dire, au sens sartrien de cette expression."Filmer trois journées d'entretiens avec Claude Simon, dans sa maison de Salses, doit tenir compte de cette donnée fondamentale : l'écrivain n'a "rien à dire". C'est cet homme "découvrant à tâtons le monde dans et par l'écriture" dont le film fait le portrait, cet explorateur "d'un paysage inépuisable", passant et repassant, comme la ligne en boucle de l'entrelacs, par des points qui sont autant de carrefours de l'œuvre : le cheval mort de La route des Flandres, les cartes postales d'Histoire, les archives familiales des "Géorgiques". Ces images, ces mots, ces objets, qui sont les matériaux des livres : les "corps conducteurs" du courant qui circule dans l'œuvre ; et les seuls repères du voyageur aveugle." 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César (1955-....)";}s:37:"\x00App\Model\Notice\x00directorsReferenced";a:0:{}s:23:"\x00App\Model\Notice\x00dates";a:1:{i:0;s:4:"1989";}s:32:"\x00App\Model\Notice\x00publishedDates";a:1:{i:0;s:4:"1989";}s:34:"\x00App\Model\Notice\x00maxPublishedDate";N;s:28:"\x00App\Model\Notice\x00otherDates";a:0:{}s:24:"\x00App\Model\Notice\x00resume";a:1:{i:0;s:2103:""En l'absence de sources écrites, l'histoire malgache se cache dans les gestes et les mots... Les hypothèses scientifiques se multiplient pour percer l'énigme de la genèse malgache, et les récits légendaires, les signes et les symboles dissimulés dans la vie quotidienne sont les principales sources d'inspiration de ces investigations. Les principaux protagonistes de notre film sont les histoires elles-mêmes, réelles ou imaginaires, individuelles ou collectives. Nous naviguons de l'une à l'autre, mettant en évidence le merveilleux inhérent aux aventures vécues, cherchant chez nos interlocuteurs réels les héros des histoires légendaires.Nous avons cherché dans la culture malgache, dans les contes et les légendes, les thèmes dominants. Ces formes véhiculent une certaine philosophie de la vie et de la mort. (...)Le Famadihana par exemple correspond à la cérémonie de l'exhumation et du retournement des morts. On sort de terre les ossements et on les place dans un nouveau linceul. Le plus souvent cette cérémonie a lieu pendant l'hiver (juillet-septembre). Tous les gens qui appartiennent à la même famille sont enterrés dans le même tombeau, celui-ci est donc très grand, c'est le tombeau familial. La décision est prise pendant une réunion de famille. Certains ont rêvé d'un parent : "Il a froid, il faut s'occuper de lui." Parfois on ramène le corps d'un parent décédé loin du tombeau familial. Même si l'on meurt loin, il est inadmissible pour un Malgache de n'être pas enterré dans le tombeau familial.Le Famadihana est une fête qui dure de un à trois jours, on mange, on boit de l'alcool de canne, le Toaka Gasby. On sort l'ancêtre du tombeau, on lui raconte les dernières blagues, on lui présente les derniers-nés. On le change de linceul, celui-ci est fabriqué dans de la soie brute, un tissu très cher. C'est un peu comme le carnaval brésilien, il y a quinze ans, dans une petite ville. Les gens sont très gais."(Extraits d'un entretien avec César et Marie-Clémence Paes, propos recueillis par Linda Romano, Infos Brésil, mai 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