In entrance of the Édouard VII theater, announcing the identify of Patrick Bruel is surprisingly just like announcing “Dame Blanche” 3 times in entrance of a mirror: the grins tighten and the ambiance turns into heavy. Since January 27, Half two fills the theater night time after night. And this Thursday, March 16. A couple of minutes earlier than the 9 p.m. efficiency, the queue nonetheless stretches lengthy in entrance of the corridor. Barely the query of accusations geared toward Patrick Bruel is it talked about that eyes shut, the solutions change into transient, usually irritated.
Whereas round fifty artists, collectives and feminist associations launched a petition calling for the cancellation of his tour following accusations ofsexual assault and rapewhich he disputes, on the followers’ facet, the break doesn’t happen. As a result of the accusations appear inadequate to dissuade spectators from going to the theater that Thursday night.
An attachment stronger than something
For a big a part of the spectators, their presence is firstly defined by a long-standing loyalty. Hélène, in her fifties, would not ask herself the query. “Under no circumstances,” she replies when requested if the accusations referred to as into query her coming: “He’s an artist that I like. I’ll see him in live performance in October, at Zenith of Paris “. Identical logic for Patricia, 56, who got here to see the play for the fourth time:
« I have been following him for years and every part he is given me I am unable to erase. »
This bond, constructed over many years, goes past easy music consumption. “The general public is a fan. And if you end up a fan, you aren’t rational,” analyzes Benjamine Weill, thinker and creator of Who advantages from the soiled?. On this logic, the boycott turns into troublesome to envisage.
Between discomfort and presumption of innocence
Nonetheless, among the many spectators interviewed, the uneasiness is perceptible: “If sadly there are confirmed info, I’m sorry, however for me it’s an artist that I like,” confides Hélène. Patricia, who has adopted him for years, sums up this stress: “If he did one thing, I do not condone it in any respect. However Patrick, for me, he’ll stay Patrick. He’ll stay in my coronary heart. »
Nonetheless, not all spectators current themselves as unconditional supporters. For some, doubt and unease are very current. Steven, in his thirties, admits it bluntly: “In fact it actually bothers me. If I had recognized this earlier than, I’d by no means have booked the room. We even hesitated, however we stated to ourselves that there would absolutely be a substitute…”
He evokes a humiliation and even a type of discomfort on the thought of attending the play. “We’re not very comfy, I do not know if I am going to benefit from the play. Clearly, we stated to ourselves that we weren’t going to put up our launch on the social networks », he stated once more, whereas admitting to having come regardless of every part. “We thought there could be a small demonstration in entrance of the theater.”
This response exhibits that non-boycott doesn’t essentially imply help. Nathalie, 51, explains for her half that she got here “for the trio” of actors (Patrick Bruel, Stéphane Freiss and Marine Delterme), and insists on the truth that “in France, there may be nonetheless the presumption of innocence”. An argument that comes up frequently and which constructions speeches. For Jean-Michel Aubry Journet, co-founder of #MusicTooFrance and ambassador of Metoomedia, this reflex has change into systematic “We are going to instantly go to the facet of felony legislation and say: ‘he’s presumed harmless’. »
A non-boycott that goes past the general public
Once we discuss concerning the thought of a boycott with Patricia, she summarizes a shared place: “I can perceive, however what’s the purpose? That does not imply I settle for if the individual did one thing. »
However decreasing this example to followers alone could be, in accordance with consultants, a mistake. For Benjamine Weill, “over-responsibility for the person” masks a broader downside. The general public doesn’t act in a vacuum: it continues to see a programmed, seen, uncovered artist. As Jean-Michel Aubry Journet factors out, even condemned artists “have followers who comply with them. And the room doesn’t cancel.” If the trade had not but lifted a finger within the face of this affair, the petition would possibly attempt to make issues occur. However in entrance of the theater and because the singer’s tour approaches, one actuality is unmistakable: that of an viewers that doesn’t break up…
