DOCSLIB.ORG

Wajdi Mouawad

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wajdi Mouawad programme eng 09 15/05/09 10:03 Page 1 63rd Festival d’Avignon 7-29 July 2009 Complement in English to the programme This document does not replace the full programme but complements it by offering an English translation of all the texts presenting the artists and shows of the festival. The page numbers refer to the programme in French where further details and full credits are also available. The Festival d’Avignon has long been an interna- Finally, a special programme has been prepared tional platform for the performing arts, gathering this summer: artists and audiences from all around the world. This year, the programme welcomes artists and • Some shows will benefit from English surtitles performances from many countries and many lan- or simultaneous translation into English. This guages will be heard on the festival stages: service will only be available for a limited number French from three different continents as well as of performances: English, Spanish, Italian, Arabic, Polish, German Le Livre d’or de Jan, Saturday 11th July at 10 p.m. and Hebrew. It is important to allow the artists to Les Inepties volantes, Friday 12 July at 10 p.m. express themselves in their own languages, but it Des témoins ordinaires,Wednesday 21 July at is also important tofacilitate access to their work 2.30 p.m. & Sunday 26 July at6p.m. for as wide an audience as possible. For many Les Cauchemars du gecko, Friday 24 July at 6 p.m. years we have provided French surtitles for the La Menzogna, Saturday 25 July at 10 p.m. international productions. Since 2007, and with Loin…, Monday 27 July at 2.30 p.m. the support of the European Commission, the Festival d’Avignon has made a significant effort to • Four shows–La Maison des cerfs and the trilogy enable a growing number of non-French speaking Sad Face | Happy Face, Radio Muezzin, Orgie audiences to fully enjoy the artistic programme. de la tolérance – will be presented in French and English for all performances. The present document is part of that effort. It does not only offer a full translation of all the • Many of the shows presented in the programme texts of the programme but also provides useful have strong visual, musical or dance components information to help find your way through the and will be easily accessible to non French festival city. speakers: El final de este estado de cosas, redux, Le Préau d’un seul, Un peu de tendresse bordel The English version of the Festival website de merde !, Le Cri, L’Autre Rive, Non, Sylphides, www.festival-avignon.com has also been updated Cycle de musiques sacrées, as well as the new piece by Maguy Marin and the exhibition ... “Tels with improved access and more practical infor- des oasis dans le désert”. mation, accommodation tips, useful addresses, travel information… • Multilingual synopsis will also be available for You can also sign up on our website to our English some shows. Please ask at the box-office or at the enewsletter to receive regular update on the venues for details. activities and the programme of the Festival. • Finally, Les Rencontres européennes des festivals d’Aix-en-Provence et d’Avignon – a three- day programme of debates on artistic creation and creativity in a European context – are fully available with French and English simultaneous translation. We hope you enjoy your Festival and your stay in Avignon. shows accessible to non French speakers some performances accessible to English speakers (surtitles or simultaneous translation) Festival shuttle buses 1 programme eng 09 15/05/09 10:03 Page 2 page 2 page 4 Editorial Voyage pour le Festival d’Avignon 2009 The festival programme has been conceived together with this year's associate artist: play- wright and director Wajdi Mouawad. During our Journey for the Festival d’Avignon 2009 dialogue over the last two years we talked about the importance of telling stories and about The journey made for the preparation of this memory, about theatre, painting and literature, we 63rd edition with Wajdi Mouawad through artistic explored our respective relationship with a world and geographic territories gave rise to many in turmoil. We also travelled together to significant conversations with the Festival directors, in Avi- places of his own story, from Beyrouth to Montreal, gnon, Montreal and Beirut, and also letters from he told us about his Lebanese childhood during Wajdi Mouawad. You will find most of them in the the war, his exile to France then Quebec, about the book Voyage pour le Festival d’Avignon 2009, anger burning inside him when confronted to the published in collaboration with P.O.L. editions. incoherence of the world. This publication will be available for free at the Enriched by this dialogue, we invited artists to beginning of July on request at the Cloître Saint- come and create new pieces of work for the Louis, the École d’Art, the Festival shop, or may be 63rd edition of the festival. Now, as each one of downloaded from our Internet site. these projects is coming to life, strong resonances emerge with the issues raised byrecent events; the upheaval in Madagascar, the youth protests in Extract from a letter from Wajdi Mouawad Greece, the deaths in Gaza, the financial crisis and its serious social consequences, the election of Saturday, 30 June 2007 Barack Obama. TGV Avignon/Paris Telling stories makes Man more human and helps Dear Hortense and Vincent, him comprehend the world and fight the tempta- tion of amnesia. Stories have inhabited theatre How can I word the question? stages since the origins, they've bound us together but we've also learnt to be wary of them, particu- Reading the issue of Alternatives théâtrales larly when they carry nothing but certainties, or devoted to Avignon 2005, Georges Banu raises when the emotions they generate are instrumen- the question of risk. He asks himself, as well as talised by economic, political or religious powers. the artists and various thinkers, about this idea. “What is risk for you?” From one answer to the Your experiences as an audience, this summer, will other, we notice how indefinable, at bottom, be fed by multiple stories, fictions and documen- this idea is. But beyond that, and although we taries. Artists from different geographical – Canada can say that it was insightful on Georges’ part and the Mediterranean – as well as artistic territories, given what this edition was and what it was will come to share with us their questionings on the going to trigger, it seems to me that it wasn’t state of the world. We'll hear many languages: necessarily this question that you asked your- Polish, Arabic, Spanish… and French spreading selves, clearly at least when you announced the several continents. We'll see texts – from Greek 2005 programme and the name of its associate tragedy to contemporary drama – cross with choreo- artist. You didn’t say: “With Jan Fabre, we are graphy, visual arts and also, this year, with cinema. going to raise the question of risk.” This interro- We will indeed confront the various ways stories gation was brought in by an outside observer. He and memories are dealt with both in the theatre could have formulated another question given and in cinema with film-makers whose movies talk the programme, but he himself chose to examine of the territories visited this year by the Festival. this aspect of creation. You can say that it was one of the possible public answers to the public In the difficult times our societies are going gesture of your programme. through, we want this festival to be creative and impertinent, angry and enthusiastic and, in all From this viewpoint, it sometimes happens that cases, alive. you think you’re asking a question without rea- lising that you’re asking another one that is Hortense Archambault, Vincent Baudriller, directors different. So, asking ourselves the question of Avignon, 20 April 2009 narration, of subject and everything we talked 2 programme eng 09 15/05/09 10:03 Page 3 about yesterday, would it be possible that we So… are raising another question in believing that Wouldn’t the real question of the 2009 Festival be we’re raising the one of narration? more that of the mass grave? Isn’t saying: “The 2009 edition will bring up the question of narration” removing all the mystery How do you recount the mass grave? from the question? In other words: if one wants What is to be done with the mass grave that the to raise the question of the mode of the narra- 20th century was? What will they do, the others, tion, the identification with the subject and those that will come later, when they wonder: catharsis, shouldn’t things be envisaged in dif- “What happened?”; when the witnesses will no ferent terms? Isn’t saying: “The 2009 edition of longer be there to tell them: “We can’t say”? the Festival d’Avignon will be devoted to narra- tion and will have Wajdi Mouawad as the asso- To find a right place, shouldn’t we start by putting ciate artist” falling into a sort of justification the facts and events back into a relationship with that would divert the mysterious raison d’être of time? Time that goes by from fact to fact, in this the theatre? way creating the narration? But… And if, looking at the theatre as an endless field, Aren’t we, on the contrary, by avoiding asking the we created, after painstaking observation, a question clearly, missing an occasion to bring strange unevenness that does not seem to be due together the public and artists around a complex to nature, but to an artifice, that we decided to dig and provocative question? to uncover a mass grave, an indication of a slaughter? The need to solve the enigma: “What Am I asking too many questions? happened?” is built on this mass grave.
Load more

Recommended publications
  • New Europe College GE-NEC Program 2004-2005 2005-2006 2006-2007
    New Europe College GE-NEC Program 2004-2005 2005-2006 2006-2007 MARIA CRÃCIUN ªTEFAN GHENCIULESCU ANCA GOGÂLTAN IOSIF KIRALY DAN-EUGEN RAÞIU HORIA ION CIUGUDEAN CIPRIAN FIREA ILEANA PINTILIE-TELEAGÃ RADU G. PÃUN VLAD BEDROS IOANA BOTH MARIN CONSTANTIN CONSTANÞA VINTILÃ-GHIÞULESCU ANA-MARIA GRUIA New Europe College GE-NEC Program 2004-2005 2005-2006 2006-2007 Editor: Irina Vainovski-Mihai Copyright – New Europe College ISSN 1584-0298 New Europe College Str. Plantelor 21 023971 Bucharest Romania www.nec.ro; e-mail: [email protected] Tel. (+4) 021.307.99.10, Fax (+4) 021.327.07.74 New Europe College GE-NEC Program 2004-2005 2005-2006 2006-2007 MARIA CRĂCIUN ŞTEFAN GHENCIULESCU ANCA GOGÂLTAN IOSIF KIRALY DAN-EUGEN RAŢIU HORIA ION CIUGUDEAN CIPRIAN FIREA ILEANA PINTILIE-TELEAGĂ RADU G. PĂUN VLAD BEDROS IOANA BOTH MARIN CONSTANTIN CONSTANŢA VINTILĂ-GHIŢULESCU ANA-MARIA GRUIA CONTENTS FOREWORD 7 MARIA CRĂCIUN ATTITUDES TO RELIGIOUS ART AND THE CONFESSIONAL IDENTITY OF THE SAXON COMMUNITY Passion Cycles in the Context of Lenten Observance and Easter Celebrations in Late Medieval and Early Modern Transylvania 11 ŞTEFAN GHENCIULESCU BUCAREST : LA TRANSPARENCE DU TISSU. UNE DISCUSSION SUR LES LIMITES ET L’HABITATION 71 ANCA GOGÂLTAN PASSION ICONOGRAPHY AND NARRATIVE STRATEGIES IN THE MEDIEVAL FRESCOES DECORATING THE CHURCH IN MĂLÂNCRAV (ALMAKERÉK, MALMKROG) IN TRANSYLVANIA 101 IOSIF KIRÁLY PHOTOGRAPHY AS ART AND DIGITAL TECHNOLOGY 153 DAN-EUGEN RAŢIU LA MUSE SUBVENTIONNÉE : POLITIQUES PUBLIQUES DE SOUTIEN À LA CRÉATION ARTISTIQUE EN ROUMANIE (1997-2005) 185 HORIA ION CIUGUDEAN LANDSCAPE ARCHEOLOGY IN SOUTH-WEST TRANSYLVANIA: ANCIENT GOLD MINING IN THE BUCIUM-ZLATNA REGION 249 CIPRIAN FIREA ART AND ITS CONTEXT.
    [Show full text]
  • MA Thesis Ceremonials FINAL
    ABSTRACT CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE by Rachel Lynn Brandenburg Rituals have been used throughout history as a way to process change and emotion. In the modern day, people are beginning to turn away from organized religion and to take on more personalized rituals and spirituality. As such, identifying as a witch is a growing phenomenon that serves to empower many personally, politically, and spiritually. This creative thesis takes an autobiographical approach to explore how ritual and the identity of the witch can be used as tools of empowerment, tracing the artist’s own journey from Catholicism to a more fluid spiritual life. On February 22nd, 2019, Ceremonials: A Ritual Play opened as part of Miami University’s Independent Artist Series. The play was devised with a student ensemble over a period of five months and stands as the culmination of a series of performance projects that sought to combine ritual and theatre. This portfolio spans the breadth of that practice-based research and includes examples from performance experiments and the devising process, as well as reflections on how ritual and devised theatre can help to empower the individual and the artist. CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE A Thesis Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Master of Arts by Rachel Lynn Brandenburg Miami University Oxford, Ohio 2019 Advisor: Saffron Henke Reader: Julia Guichard Reader: Christiana Molldrem Harkulich ©2019 Rachel Lynn Brandenburg This Thesis titled CEREMONIALS: A RECLAMATION OF THE WITCH THROUGH DEVISED RITUAL THEATRE by Rachel Lynn Brandenburg has been approved for publication by The College of Creative Arts and Department of Theatre ____________________________________________________ Saffron Henke, MFA ______________________________________________________ Julia Guichard, MFA _______________________________________________________ Christiana Molldrem Harkulich, PhD Table of Contents 1.
    [Show full text]
  • Federal President Frank Walter Steinmeier at an Honorary Degree Ceremony at the Lebanese University on 30 January 2018 in Beirut, Lebanon
    The speech online: www.bundespraesident.de page 1 to 7 Federal President Frank Walter Steinmeier at an honorary degree ceremony at the Lebanese University on 30 January 2018 in Beirut, Lebanon I would first like to thank you most sincerely for the great honour that it is to be awarded an honorary doctorate. And I am delighted to be able to address you on this occasion today. As some of you may know, this is not my first visit to your beautiful country. If I am not mistaken, then this is the seventh time that I have visited your city in a range of different capacities. However, I have been told that no German head of state has been to Lebanon for 120 years. And therefore I am especially pleased that this visit, which is my first as Federal President, constitutes another premiere. I associate Beirut with another “first”, a moment that is deeply etched in my memory. Back then – I had only been Foreign Minister for a short period of time – I learned that diplomacy and the quest for peace are not only a question of patient, often tough negotiations, but can also be about success. Tangible and visible success. I have clear memories of that moment during the war in 2006. On 7 September here in Beirut, I was standing with the then Prime Minister on the balcony of his residence. A little dot appeared on the horizon that came closer and closer. This dot increasingly took on the shape of an aircraft, which finally came in to land.
    [Show full text]
  • Thesis Submitted to the Faculty of Graduate Studies and Research
    University of Alberta The Performance of Identity in Wajdi Mouawad’s Incendies by Nicole Renault A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts Drama ©Nicole Renault Fall 2009 Edmonton, Alberta Permission is hereby granted to the University of Alberta Libraries to reproduce single copies of this thesis and to lend or sell such copies for private, scholarly or scientific research purposes only. Where the thesis is converted to, or otherwise made available in digital form, the University of Alberta will advise potential users of the thesis of these terms. The author reserves all other publication and other rights in association with the copyright in the thesis and, except as herein before provided, neither the thesis nor any substantial portion thereof may be printed or otherwise reproduced in any material form whatsoever without the author's prior written permission. Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l’édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-54187-6 Our file Notre référence ISBN: 978-0-494-54187-6 NOTICE: AVIS: The author has granted a non- L’auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l’Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distribute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats.
    [Show full text]
  • MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
    MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division
    [Show full text]
  • Press Kit Directed by Written and Uawad Wajdi Mou
    Press Kit written and directed by Wajdi Mouawad 5 — 30 December 2018 Contact details Dorothée Duplan, Flore Guiraud, Camille Pierrepont assisted by Louise Dubreil 01 48 06 52 27 | [email protected] Downloadable Press kit and photos: www.colline.fr > professionnels > bureau de presse 2 Tous des oiseaux 5 – 30 December 2018 at La Colline – théâtre national Show in German, English, Arabic, and Hebrew surtitled in French duration: 4h interval included Cast and Creative Text and stage direction Wajdi Mouawad with Jalal Altawil Wazzan Jérémie Galiana or Daniel Séjourné Eitan Victor de Oliveira the waiter, the Rabbi, the doctor Leora Rivlin Leah Judith Rosmair or Helene Grass Norah Darya Sheizaf Eden, the nurse Rafael Tabor Etgar Raphael Weinstock David Souheila Yacoub or Nelly Lawson Wahida Assistant director Valérie Nègre Dramaturgy Charlotte Farcet Artistic collaboration François Ismert Historical advisor Natalie Zemon Davis Original music Eleni Karaindrou Set design Emmanuel Clolus Lighting design Éric Champoux Sound design Michel Maurer Costume design Emmanuelle Thomas assisted by Isabelle Flosi Make-up and hair design Cécile Kretschmar Hebrew translation Eli Bijaoui English translation Linda Gaboriau English translation Uli Menke Arabic translation Jalal Altawil 2018 Production La Colline – théâtre national The show was created on Novembre 17th in the Main venue at La Colline and has received the Great Prize 2018 of the Professional Review Association. The text has been published by Léméac/Actes Sud-Papiers in January 2018. 3 On tour
    [Show full text]
  • Full Text (PDF)
    Document generated on 09/25/2021 12:27 a.m. Séquences La revue de cinéma Le temps qu’il reste Fragments identitaires Le temps qu’il reste — Grande-Bretagne / Italie / Belgique / France 2009, 109 minutes Janine Halbreich-Euvrard Number 263, November–December 2009 URI: https://id.erudit.org/iderudit/63356ac See table of contents Publisher(s) La revue Séquences Inc. ISSN 0037-2412 (print) 1923-5100 (digital) Explore this journal Cite this review Halbreich-Euvrard, J. (2009). Review of [Le temps qu’il reste : fragments identitaires / Le temps qu’il reste — Grande-Bretagne / Italie / Belgique / France 2009, 109 minutes]. Séquences, (263), 33–33. Tous droits réservés © La revue Séquences Inc., 2009 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ HORS CHAMP | ARRÊT SUR IMAGE 33 Le temps qu’il reste Fragments identitaires Didier Stiers s’exclame : « Elia Suleiman parle volontiers de bénediction, il en est une lui aussi, ce dandy qui fait de la poésie avec l’absurde et le tragique... » Né à Nazareth (Galilée) en 1960, de parents arabes devenus citoyens israéliens après la création de l’État d’Israël, Suleiman est ce qu’on appelle un « Arabe israélien » ou Palestinien d’Israël, c’est-à-dire qu’il n’est ni réellement israélien, ni totalement palestinien….
    [Show full text]
  • YANA MEERZON This Essay Examines the Forms of History and Memory Representation in Incendies, the 2004 Play by Wajdi Mouawad, An
    YANA MEERZON STAGING MEMORY IN WAJDI MOUAWAD ’S INCENDIES : ARCHAEOLOGICAL SITE OR POETIC VENUE ? This essay examines the forms of history and memory representation in Incendies , the 2004 play by Wajdi Mouawad, and its 2010 film version, directed by Denis Villeneuve. Incendies tells the story of a twin brother and sister on the quest to uncover the mystery of their mother’s past and the silence of her last years. A contemporary re-telling of the Oedipus myth, the play examines what kind of cultural, collective, and individual memo - ries inform the journeys of its characters, who are exilic children. The play serves Mouawad as a public platform to stage the testimony of his child - hood trauma: the trauma of war, the trauma of exilic adaptation, and the challenges of return. As this essay argues, when moved from one medium to another, Mouawad’s work forces the directors to seek its historical and geographical contextualization. If in its original staging, Incendies allows Mouawad to elevate the story of his personal suffering to the universals of abandoned childhood, to reach in its language the realms of poetic expres - sion, and to make memory a separate, almost tangible entity on stage, then the 2010 film version by Villeneuve turns this play into an archaeological site to excavate the recent history of a single war-torn Middle East country (supposedly Lebanon), an objective at odds with Mouawad’s own view of theatre as a venue where poetry meets politics. Naturally the transposition from a play to a film presupposes a significant mutation of the original and raises questions of textual fidelity.
    [Show full text]
  • Wajdi Mouawad
    Wajdi Mouawad Born in 1968, author, actor, and director Wajdi Mouawad spends his early childhood in Lebanon, his adolescence in France, and his young adult years in Quebec before settling in France, where he now lives. He studied in Montreal at École nationale de théâtre du Canada, and is awarded a diploma in performance in 1991. Upon graduation he begins codirecting his first company, Théâtre Ô Parleur, with actor Isabelle Leblanc. In 2005, he establishes two companies, Abé Carré Cé Carré, in Quebec, with Emmanuel Schwarts, and Au Carré de l’Hypoténuse in France. During this time, in 2000, he assumes the role of artistic director for the Théâtre de Quat’Sous in Montreal, a position he will hold for four seasons. He and his French company, Au Carré de l’Hypoténuse were associate artists at l'Espace Malraux, scène nationale de Chambéry et de la Savoie, from 2008 to 2010. In 2009 he is artist in residence of the 63rd edition of the Festival d’Avignon, where he stages the quartet Le Sang des Promesses. He serves as artistic director for the Théâtre français du Centre national des Arts d’Ottawa from 2007 to 2012. Since September 2011, he has been associated artist at the Grand T- Nantes. In April 2016, he is nominated to assume the role of director for the National Theater in Paris, La Colline. His career as stage director began with the Théâtre Ô Parleur, as he contributed his own works to be performed: Partie de cache-cache entre deux Tchécoslovaques au début du siècle (1991), Journée de noces chez les Cromagnons (1994) et Willy Protagoras enfermé dans les toilettes (1998), puis Ce n’est pas la manière qu’on se l’imagine que Claude et Jacqueline se sont rencontrés coécrit avec Estelle Clareton (2000).
    [Show full text]
  • De Wajdi Mouawad Dirección Mario Gas Índice
    PRODUCCIÓN COPRODUCCIÓN DE Wajdi Mouawad DIRECCIÓN Mario Gas Índice 4 Ficha 6 Incendios/Wajdi Mouawad 7 Ysarca/Pilar de Yzaguirre 8 Mario Gas 9 Escenografía 11 Actores 22 Contacto 2 reparto NAWAL Nuria Espert NAWAL JOVEN Laia Marull JEANNE Carlota Olcina SIMON Álex García HERMILE LEBEL Ramón Barea ANTOINE Alberto Iglesias SAWDA Lucía Barrado NIHAD Edu Soto Ficha ficha artística AUTOR Wajdi Mouawad PRODUCTORES DELEGADOS Paco Pena y Alicia Moreno TRADUCTOR Eladio de Pablo COPRODUCCIÓN Teatro de la Abadía PRODUCCIÓN YSARCA S.L DIRECTORA - Pilar de Yzaguirre DIRECTOR Mario Gas SUBDIRECTORA - Pilar Gª de Yzaguirre ESCENOGRAFÍA Carl Fillion GERENTE - Elisa Ibarrola ESCENÓGRAFA ASOCIADA Anna Tussell VESTUARIO Antonio Belart PROYECCIONES Álvaro Luna ESPACIO SONORO Orestes Gas ILUMINACIÓN Felipe Ramos AYUDANTE VESTUARIO Cristina Martínez AYUDANTE DE DIRECCIÓN Montse Tixé DOSSIER m comunicación 4 5 Una mujer acaba de morir. Se llamaba Nawal Marwan. Y hoy, en la lectura del testamento, ella abre la puerta a su silencio y a sus secretos, a los misterios dolorosos de una familia. Ha dejado a sus gemelos, Jeanne y Simon, un cuaderno rojo, una chaqueta de tela verde y dos sobres que comportan una pe- tición llena de consecuencias, como otras tantas cajas de Pan- dora, orígenes de males y mara- villas, cuyo contenido arrastrará a los gemelos hacia un pasado desconocido, hacia un conti- nente lejano, hacia un segundo nacimiento. “La infancia es un cuchillo clavado en la garganta. No se lo arranca uno fácilmen- te” escribe Wajdi Mouawad. “Solamente las palabras tienen el poder de arrancarlo y calmar así la quemadura.” Wajdi Mouawad En el transcurso de los últimos veinte años, Wajdi Mouawad se ha destacado tanto en Canadá como en Europa gracias al vigor de su palabra y a la singularidad nítida de su estética teatral.
    [Show full text]
  • Dossier Pédagogique
    Du 9 au 19 novembre 2011 DES FEMMES LES TRACHINIENNES / ANTIGONE / ÉLECTRE Sophocle Texte français Robert Davreu Mise en scène Wajdi Mouawad GRANDE SALLE Dossier pédagogique « Le scarabée est un insecte qui se nourrit des excréments d’animaux autrement plus gros que lui. Les intestins de ces animaux ont cru tirer tout ce qu’il y avait à tirer de la nourriture ingurgitée par l’animal. Pourtant, le scarabée trouve, à l’intérieur de ce qui a été rejeté, la nourriture nécessaire à sa survie grâce à un système intestinal dont la précision, la finesse et une incroyable sensibilité surpassent celles de n’importe quel mammifère. De ces excréments dont il se nourrit, le scarabée tire la substance appropriée à la production de cette carapace si magnifique qu’on lui connaît et qui émeut notre regard : le vert jade du scarabée de Chine, le rouge pourpre du scarabée d’Afrique, le noir de jais du scarabée d’Europe et le trésor du scarabée d’or, mythique entre tous, introuvable, mystère des mystères. Un artiste est un scarabée qui trouve, dans les excréments mêmes de la société, les aliments nécessaires pour produire les œuvres qui fascinent et bouleversent ses semblables. L’artiste, tel un scarabée, se nourrit de la merde du monde pour lequel il œuvre, et de cette nourriture abjecte il parvient, parfois, à faire jaillir la beauté. » Wajdi Mouawad 2 TEXTE SOPHOCLE MISE EN SCENE WAJDI MOUAWAD Du 9 au 19 novembre 2011 DES FEMMES LES TRACHINIENNES / ANTIGONE / ÉLECTRE Avec Pierre Ascaride Bertrand Cantat en alternance avec un autre musicien Olivier Constant
    [Show full text]
  • Talking Timbre: Vocal Timbre and Narrative in Florence + the Machine’S Ceremonials ​ Madison Stepherson University of Minnesota
    Talking Timbre: Vocal Timbre and Narrative in Florence + the Machine’s Ceremonials ​ Madison Stepherson University of Minnesota One of the most striking qualities in Florence + the Machine’s music is the sonic soundscape and vocal timbre. This paper provides a close reading of a cross-section of three songs from the album Ceremonials while considering the timbres employed and connecting ​ ​ those timbres to narrative implications. This presentation will begin with a brief overview of Florence + the Machine, followed by an explanation of the methodology employed. After identifying and classifying timbre types present in the selected songs, I will address how Kate Heidemann’s 2016 system can be used “to conceptualiz[e] the meaning of timbre,” (2016). I posit that Florence Welch employs specific timbre types to represent Renaissance ideas and to offer deeper insight to the narratives unfolding. Finally, I will conclude with remarks on possible ​ ​ future scholarship. Florence + the Machine is a British indie-pop-rock band that consists of lead singer Florence Welch, back-up singers, and supporting instrumentalists, including a harpist, guitarist, and keyboardist. Since their formation in 2007, Florence + the Machine has released four studio albums, and Florence Welch has collaborated with many well-known contemporary pop artists, as well as produced music for films and video games. Ceremonials (2011) has been described as a more cohesive and representative album of ​ ​ ​ the sonic soundscape than the group’s first album Lungs (2009), and as such offers an ​ ​ ​ ​ opportunity to begin to examine Florence + the Machine’s compositional techniques and intricacies, specifically regarding one of the most distinctive features of the group – that of the voice and vocal timbre.
    [Show full text]