DOCSLIB.ORG

March 27-29, 2009

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
March 27-29, 2009 Virginia Commonwealth University and the University of Richmond present Richmon d , V irginia March 27-29, 2009 Exclusive Print Media Sponsor All films have English subtitles and are presented by their actors and directors. 17th annual • Byrd Theatre • Richmond, Va. • (804) 827-FILM • www.frenchfilm.vcu.edu Table of contents 3 Schedule and event information 30 Shorts Drift L’Auberge rouge 6 The Sad and Lonely Death of Edgar Allan Poe 8 J’ai vu tuer Ben Barka Music Short Coups de filet 10 Deux jours à tuer Bruit blanc 12 Mia et le Migou Leila L’Homme est le seul oiseau qui porte sa cage 14 15 ans et demi Open the Door Please Subterfuge(s) 16 L’Après-midi de Monsieur Andesmas Anbafèy 18 Cliente La Pomme de Newton Welcome to Whitechapel District 20 Les Murs porteurs Ma sixtine 22 Tabarly La Copie de Coralie Monsieur Cok 24 Magique! Le Tonneau des Danaïdes Arrêt demandé 26 Musée haut, musée bas Wawa 28 Françoise Dolto, le désir de vivre Une leçon particulière Congratulations to Jean Becker for his 2008 film Deux jours à tuer and its three César nominations, including Albert Dupontel for Best Actor, Pierre Vaneck for Best Supporting Actor, and Jean Becker, Eric Assous, Jérôme Beaujour and François d’Epenoux for Best Writing-Adaptation. Congratulations also to Pierre Marcel for his 2008 documentary Tabarly and its Cesar nomination for Best Documentary. In this year’s delegation of more French director Claude Miller, And congratulations to Raphaël than 30 actors and directors Chevènement for his short film honorary president, returns again coming to Richmond, the VCU Une leçon particulière this year to salute founders and and UR French Film Festival nominated for Best Short Film. directors Drs. Françoise and Peter welcomes back French block- Kirkpatrick for all their hard work Special congratulations to Josiane buster star Josiane Balasko — Balasko — nominated for World and efforts for continuing to bring actress, director, producer Cinema Dramatic Competition the festival to Richmond and to for her film Cliente at the 2009 and writer. Sundance Film Festival. the American public. Schedule Friday, March 27 7 p.m. J’ai vu tuer Ben Barka Sunday, March 29 Noon Master class: “Image Creation in Filmmaking” Discussion with French director Serge Le 8 a.m. Second Short Film Series Péron and French actress Josiane Balasko Part 1 A) Directors of photography, image Ma sixtine 9:30 p.m. Deux jours à tuer by Jean Becker creators in filmmaking La Copie de Coralie Round table and discussion led by Fémis Saturday, March 28 Monsieur Cok professor, French director and president of Commission Supérieure Technique de 8 a.m. Mia et le Migou by Jacques-Rémy Girerd Le Tonneau des Danaïdes l’Image et du Son Pierre-William Glenn; Discussion with French screenwriter and art Arrêt demandé VCU professor, director of VCUarts Cinema director Benoît Chieux and independent film director,Rob Wawa 10:30 a.m. 15 ans et demi Tregenza; and VCU and UR French Film Une Leçon particulière Festival directors and professors Françoise Discussion with French directors François Discussion with French directors Sébastien Desagnat and Thomas Sorriaux and Ravaux-Kirkpatrick and Peter Kirkpatrick Dubus, Jonathan Colinet, Nicolas Engel, associate producer Sandrine Paquot B) La Fémis/VCUarts Cinema Shorts Project Franck Dion, David Guiraud, Mona Achache, 1 p.m. L’Après-midi de Monsieur Andesmas Raphaël Chevènement, French actor Pascal Drift Vincent and French producer Sébastien Aubert The Sad and Lonely Death of Edgar Discussion with French director Michelle Allan Poe Porte 10:20 a.m. Tabarly Music Short 3:15 p.m. Presentation of the 2009 French Delegation, Discussion with French director Pierre Marcel introduced by His Excellency Pierre Vimont, Part 2 Studying and producing film images – 12:40 p.m. Magique! From film studies to short film production the French Ambassador to the United States, VCU President Eugene P. Trani, UR President Discussion with French director Philippe Muyl La Fémis short films in context: Edward Ayers and Festival President Claude 3 p.m. Musée haut, musée bas Coups de filet (framing sea storms) Miller by David Kremer Discussion with French director Jean- 4 p.m. Cliente Michel Ribes, French producer Frédéric Bruit blanc (capturing women’s faces Discussion with French director, screen- Brillion and French actress Josiane Balasko on film) bySenda Bonnet writer, producer and actress Josiane 5:30 p.m. Closing ceremony with French Delegation Leila (exploring nocturnal darkness Balasko and French actor George Aguilar and shadows with digital cameras) 6:15 p.m. Françoise Dolto, le désir de vivre 7 p.m. Official Reception at the VCU Scott House by Benjamin Rufi Discussion with French director Serge Le 9:30 p.m. Les Murs porteurs English translations of the three La Fémis Péron and French actress Josiane Balasko film studies upon which the short productions Discussion with French director Cyril Gelblat Theatre are based can be read before attending the 12:00 a.m. First Short Film Series master class by visiting the festival Web site. The Byrd Theatre is located at 2908 W. Cary St. in Richmond. These Fémis master’s theses have been trans- L’Homme est le seul oiseau qui porte A parking deck is located directly behind the theatre. lated from French to English by UR and VCU sa cage French majors/minors and festival interns. Open The Door Please Official Reception Part 3 New technologies in cinema production Subterfuge(s) The Official Reception is for all festival student-, faculty- and projection: Setting new standards and regular VIP-pass reception-holders who have for the image industry. Anbafèy purchased the $25 add-on for the reception. If you have purchased a pass already and did not choose the recep- Pierre-William Glenn, president, CST; La Pomme de Newton tion add-on, you still may do so by contacting the festival Rip Hampton O’Neil, director of research Welcome to Whitechapel District office. The reception’s event caterer isA Sharper Palate, and development, CST; Alain Besse, board Discussion with French directors Yves with the following food sponsors: 1 North Belmont, member, CST and sound editor; and Angelo Brodsky, Dominique Duport, Vincent Vizioz, Cafe Rustica, European Market and Café, Millie’s, Cosimano, general director, Digimage. Marie Vieillevie, French screenwriter River City Cellars, The Black Sheep, Sophisticated 4 p.m. L’Auberge rouge Yann Le Gal and French producer Aurélia Soirées and Weezie’s Kitchen. This special event will Prévieu be held on the evening of Saturday, March 28 from 7-9 Followed by the master class, “Laughter p.m. at the historic VCU Scott House, located at 909 W. and Cinema,” and discussion with French Franklin St. Parking for the reception has been reserved all director Gérard Krawczyk and French along West Franklin Street from Harrison to Laurel streets. actress Josiane Balasko Image designer Alexander Black Photographer Matthieu Normand Actress Toinette Laquière, 3 from short film Le Carnet rouge directed by Mathieu Simonet The VCU and UR French Film Festival presents “Image Creation in Filmmaking” A three-part special “master class” focusing on image creation and new technologies in image production Friday, March 27 • Byrd Theatre • 12-3:30 p.m. • Open to all Part 1 Part 2 Part 3 Directors of photography, Studying and producing New technologies in cinema image creators in filmmaking film images production and projection: Discussion with From film studies to Setting new standards short film production for the image industry Rob Tregenza Short films in context presented VCU professor, Presented by by their directors director of VCUarts Cinema, Pierre-William Glenn independent film director Coups de filet president, CST and director of photography (framing sea storms) by David Kremer Rip Hampton O’Neil Pierre-William Glenn Bruit blanc director of research Fémis professor, French film director, (capturing women’s faces on film) and development, CST director of photography and president by Senda Bonnet of Commission Supérieure Technique Alain Besse de l’Image et du Son Leila board member, CST, (exploring nocturnal darkness and sound editor Françoise Ravaux-Kirkpatrick and shadows with digital cameras) and Peter Kirkpatrick by Benjamin Rufi Angelo Cosimano VCU and UR festival general director, Digimage directors and professors English translations of the three La Fémis film studies upon which the short produc- tions are based can be read before attending the master class by visiting the festival La Fémis/VCUarts Cinema Web site. These Fémis master’s theses Shorts Project have been translated from French Drift to English by UR and VCU French The Sad and Lonely Death of Edgar Allan Poe majors/minors and festival interns. Music Short Virginia Commonwealth University and the University of Richmond present The VCU and UR French Film Festival presents “Laughter and Cinema” A special “master class” lecture will immediately follow the Friday afternoon screening of L’Auberge rouge “Laughter and Cinema” Friday, March 27 • Byrd Theatre 4 to 6:45 p.m. French director Gérard Krawczyk and French actress, director and writer Josiane Balasko In the Byrd Theatre, Josiane Balasko (left) and Gérard Krawczyk (center) sign autographs for VCU student Jessica Ferey. Photo: Pierre Courtois Gérard Krawczyk L’Auberge rouge English synopsis Synopsis en français feature In the late 19th century, the bleak Crouteux A la fin du XIXème siècle, la sinistre Inn stands in the middle of the wild moun- auberge du Croûteux se dresse au milieu French director Gérard tains of the Pyrenees. Martin and Rose, a des sauvages montagnes du massif des Krawczyk and actress Josiane couple of innkeepers, run the establishment Pyrénées. L’établissement est tenu par and regularly get Violet, their deaf and mute Martin et Rose, un couple d’aubergistes Balasko present the United adopted son, to murder solitary travelers in qui fait régulièrement assassiner par Violet States premiere of L’Auberge order to rob them.
Load more

Recommended publications
  • The Cutting Edge of French Cinema
    BACKWASH: THE CUTTING EDGE OF FRENCH CINEMA J’IRAI AU PARADIS CAR L’ENFER EST ICI , Xavier Durringer ( France, 1997 ) MA 6T VA CRACK-ER , Jean-Francois Richet ( France, 1997 ) LE PETIT VOLEUR , Érick Zonca ( France, 1998 ) L’HUMANITÉ , Bruno Dumont ( France, 1999 ) POLA X , Leos Carax ( France, 1999 ) RESSOURCES HUMAINES (Human Resources), Laurent Cantet ( France, 1999 ) À MA SOEUR! , Catherine Breillat ( France-Italy, 2000 ) PARIA , Nicolas Klotz ( France, 2000 ) SAINT-CYR , Patricia Mazuy ( France-Belgium, 2000 ) SELON MATTHIEU , Xavier Beauvois ( France, 2000 ) SOUS LE SABLE , François Ozon ( France-Belgium-Italy-Japan, 2000 ) ÊTRE ET AVOIR , Nicolas Philibert ( France, 2001 ) IRRÉVERSIBLE (Irreversible), Gaspar Noé ( France, 2001 ) LA CHATTE À DEUX TÊTES , Jacques Nolot ( France, 2001 ) LA VIE NOUVELLE , Philippe Grandrieux ( France, 2001 ) LE PACTE DES LOUPS , Christophe Gans ( France, 2001 ) LE STADE DE WIMBLEDON , Mathieu Amalric ( France, 2001 ) ROBERTO SUCCO , Cédric Kahn ( France-Switzerland, 2001 ) TROUBLE EVERY DAY , Claire Denis ( France-Japan, 2001 ) DANS MA PEAU , Marina De Van ( France, 2002 ) UN HOMME, UN VRAI , Jean-Marie Larrieu, Arnaud Larrieu ( France, 2002 ) CLEAN , Olivier Assayas ( France-UK-Canada, 2003 ) INNOCENCE , Lucile Hadzihalilovic ( France-UK-Belgium, 2003 ) L’ESQUIVE , Abdellatif Kechiche ( France, 2003 ) LE CONVOYEUR , Nicolas Boukhrief ( France, 2003 ) LES CORPS IMPATIENTS , Xavier Giannoli ( France, 2003 ) ROIS ET REINE , Arnaud Desplechin ( France-Belgium, 2003 ) TIRESIA , Bertrand Bonello ( France, 2003 ) DE BATTRE MON COEUR S’EST ARRÊTÉ (The Beat That My Heart Skipped), Jacques Audiard ( France, 2004 ) LES REVENANTS , Robin Campillo ( France, 2004 ) LES ANGES EXTERMINATEURS , Jean-Claude Brisseau ( France, 2005 ) VOICI VENU LE TEMPS , Alain Guiraudie ( France, 2005 ) À L’INTERIEUR , Alexandre Bustillo, Julien Maury ( France, 2006 ) AVIDA , Benoît Delépine, Gustave Kervern ( France, 2006 ) LES CHANSONS D’AMOUR , Christophe Honoré ( France, 2006 ) 24 MESURES , Jalil Lespert ( France-Canada, 2007 ) L’HISTOIRE DE RICHARD O.
    [Show full text]
  • Le-Vent-Tourne-Dossier-De-Presse-Francais.Pdf
    ARP Sélection présente un film de Bettina Oberli Durée : 1h27 Distribution Presse ARP Sélection Florence Narozny 13, rue Jean Mermoz assistée de Clarisse André 75008 Paris 6 place de la Madeleine 75008 Paris Tél : 01 56 69 26 00 01 40 13 98 09 Fax : 01 45 63 83 37 [email protected] www.arpselection.com www.lecinemaquejaime.com Synopsis Pauline, une jeune paysanne, élève ses bêtes dans le respect de la nature. L’arrivée de Samuel, venu installer une éolienne, va bouleverser son couple, ses valeurs. Entretien avec Bettina Oberli Réalisatrice Vous êtes très connue dans les pays de langue allemande, inconnue ici. Quels sont les chemins qui vous ont conduit à la réalisation ? C’est vrai que j’ai travaillé dans des zones germanophones jusqu’à présent. Il existe un fossé entre la culture des régions de langue française et celles dans lesquelles on parle allemand – je remarque ça même en Suisse, entre Suisse-Allemands et Romands. On lit d’autres livres, on écoute d’autres musiques et souvent, on regarde d’autres films. J’ai depuis toujours ressenti ce besoin, ce moteur qui me pousse à créer quelque chose, un univers. À travers le cinéma, je peux comprendre la vie dans sa complexité, la penser ou la ressentir différemment, en faire une abstraction. J’ai grandi entre l’île de Samoa, dans le Pacifique, et les Alpes Suisses, bien loin d’un lieu où le cinéma était considéré comme une activité possible. Je n’avais aucune connaissance de ce monde, mais j’aimais voir des films.
    [Show full text]
  • Catalogue-2018 Web W Covers.Pdf
    A LOOK TO THE FUTURE 22 years in Hollywood… The COLCOA French Film this year. The French NeWave 2.0 lineup on Saturday is Festival has become a reference for many and a composed of first films written and directed by women. landmark with a non-stop growing popularity year after The Focus on a Filmmaker day will be offered to writer, year. This longevity has several reasons: the continued director, actor Mélanie Laurent and one of our panels will support of its creator, the Franco-American Cultural address the role of women in the French film industry. Fund (a unique partnership between DGA, MPA, SACEM and WGA West); the faithfulness of our audience and The future is also about new talent highlighted at sponsors; the interest of professionals (American and the festival. A large number of filmmakers invited to French filmmakers, distributors, producers, agents, COLCOA this year are newcomers. The popular compe- journalists); our unique location – the Directors Guild of tition dedicated to short films is back with a record 23 America in Hollywood – and, of course, the involvement films selected, and first films represent a significant part of a dedicated team. of the cinema selection. As in 2017, you will also be able to discover the work of new talent through our Television, Now, because of the continuing digital (r)evolution in Digital Series and Virtual Reality selections. the film and television series industry, the life of a film or series depends on people who spread the word and The future is, ultimately, about a new generation of foreign create a buzz.
    [Show full text]
  • Here Was Obviously No Way to Imagine the Event Taking Place Anywhere Else
    New theatre, new dates, new profile, new partners: WELCOME TO THE 23rd AND REVAMPED VERSION OF COLCOA! COLCOA’s first edition took place in April 1997, eight Finally, the high profile and exclusive 23rd program, years after the DGA theaters were inaugurated. For 22 including North American and U.S Premieres of films years we have had the privilege to premiere French from the recent Cannes and Venice Film Festivals, is films in the most prestigious theater complex in proof that COLCOA has become a major event for Hollywood. professionals in France and in Hollywood. When the Directors Guild of America (co-creator This year, our schedule has been improved in order to of COLCOA with the MPA, La Sacem and the WGA see more films during the day and have more choices West) decided to upgrade both sound and projection between different films offered in our three theatres. As systems in their main theater last year, the FACF board an example, evening screenings in the Renoir theater made the logical decision to postpone the event from will start earlier and give you the opportunity to attend April to September. The DGA building has become part screenings in other theatres after 10:00 p.m. of the festival’s DNA and there was obviously no way to imagine the event taking place anywhere else. All our popular series are back (Film Noir Series, French NeWave 2.0, After 10, World Cinema, documentaries Today, your patience is fully rewarded. First, you will and classics, Focus on a filmmaker and on a composer, rediscover your favorite festival in a very unique and TV series) as well as our educational program, exclusive way: You will be the very first audience to supported by ELMA and offered to 3,000 high school enjoy the most optimal theatrical viewing experience in students.
    [Show full text]
  • Contacts Presse Dominique Berolatti +33 (0)1 41 15 05 15 [email protected]
    ress book ress p e presse e D Dossier www.biennaledeladanse.com Dossier De presse - press book - biennale De la Danse 2010 Contacts Presse Dominique Berolatti +33 (0)1 41 15 05 15 [email protected] Jean-Paul Brunet +33 (0)4 27 46 65 68 [email protected] Laura Lamboglia +33 (0)4 27 46 65 68 [email protected] Photos et dossiers à télécharger - to download À partir du 15 avril From April 15 www.biennaledeladanse.com/presse mot de passe : icono2k10 Conception visuelle générale : Anima.productions, Inook, Claire Rolland Couverture : photo©www.animaproductions.com Maquette : Claire Rolland - réalisation : Vaea Peylhard Traduction : Paul Jones Édito Edito par Guy Darmet by Guy Darmet J’ai eu la très grande chance et le bonheur de créer la It was my very good fortune and joy to create the Lyon Biennale de la Danse à Lyon en 1984. Aux côtés de la Dance Biennale in 1984. Alongside the Maison de la Maison de la Danse, cette manifestation ouverte sur le Danse, this world-embracing event has helped to make monde a contribué à faire de l’agglomération lyon- the Lyon area a quintessential location for dance – and naise un site emblématique de la danse, beaucoup de even its world capital, many commentators say. Over commentateurs parlant même de “capitale mondiale”. the years, I have had a single aim: to instil a love of Au fil de ces années je n’ai eu qu’un but, faire aimer la dance in as many people as possible. All of dance, with danse au plus grand nombre.
    [Show full text]
  • Remembrance of Things Past: Shakespeare’S Comedies on French Television
    Remembrance of Things Past: Shakespeare’s Comedies on French Television Sarah HATCHUEL and Nathalie VIENNE -GUERRIN This essay explores how Shakespeare’s comedies were adapted, appropriated and transformed by French television, with a focus on the early days of television. The first striking fact is that, if one is to except stage productions that were filmed and then broadcast, Shakespeare has not been adapted for French television since 1980. In other words, it has been twenty-eight years since a Shakespeare play was last translated, directed and performed for the exclusive benefit of TV viewers. Shakespeare on French television is not our contempor- ary 1. Through the documentary research for this essay, we went back to a time when the mingling of Shakespeare with television seemed to be less daunting and more economically viable than it is today. From the end of the fifties to the seventies, French television offered a substantial cycle: Twelfth Night was directed by Claude Loursais in 1957, then by Claude Barma in 1962; Othello (dir. Claude Barma) appeared on the TV screens in 1962, soon to be followed by Much Ado About Nothing (dir. Pierre Badel), The Merry Wives of Windsor (dir. Roger Iglesis) and The Taming of the Shrew (dir. Pierre Badel) in 1964, by King Lear (dir. Jean Kerchbron) in 1965, and by Antony and Cleopatra (dir. Jean Prat) in 1967. The seventies saw the broadcast of Measure for Measure (dir. Marcel Bluwal, 1971), As You Like It (dir. Agnès Delarive, 1972) and Romeo and Juliet (dir. Claude Barma, 1973). This cycle of French TV Shakespeare stopped short in 1980 _____ 1.
    [Show full text]
  • Quand Tu Descendras Du Ciel
    Quand tu descendras du ciel Deutscher Titel: Vom Himmel hoch Kinostart in Frankreich: 2003 Kinostart in Belgien: 2003 Kinostart in Deutschland: 2004 Land: Frankreich/Belgien Regie, Buch: Éric Guirado Darsteller/innen: Benoît Giros, Serge Riaboukine, Ludmila Ruoso, Jean-François Gallotte Kamera: Thierry Godefroy Schnitt: Ludo Troch, Christian Cuilleron Ton: Philippe Mouisset Musik: Philippe Poirier, Sylvain Freyermuth Produktion: BFC Productions, Canal+, Harpo Films, Need Productions, Rhône-Alpes Cinéma Produzenten: Jean-Fabrice Barnault, Victorien Vaney, Christophe di Sabatino Deutscher Verleih: Kairos Filmverleih Länge: 100 Minuten Format: 35 mm Genre: Drama Preise: Filmfest Braunschweig 2003 (Publikumspreis), Filmfest Angers 2003 (Publikumspreis) Synopsis Jérôme verlässt kurz vor Weihnachten den hochverschuldeten Bauernhof seiner Eltern, um in der Großstadt Arbeit zu suchen. Er freundet sich mit dem stolzen und exzentrischen Stadtstreicher „La Chignole“ an, der den ganzen Tag vor einem Fernsehgeschäft sitzt und sich ‚Stummfilme‛ ansieht. Bald findet Jérôme auch eine Arbeit, die ihm Spaß macht: Er schmückt Weihnachtsbäume in der Stadt. Doch dann kommt eine Anweisung von oben – Bettler werden nicht mehr vor den weihnachtlichen Schaufenstern geduldet. Nun müssen Jérôme und sein Kollege Lucien Obdachlose einsammeln und sie gegen ihren Willen irgendwo auf freiem Feld aussetzen. Als sich Jérôme auch noch in die junge Journalistin Marthe verliebt, die von den skandalösen Praktiken der Stadtverwaltung Wind bekommen hat, gerät er zwischen alle Fronten: Wie soll er zwischen Arbeit, Freundschaft und Liebe entscheiden? Vom Himmel hoch verbindet die Kritik an der Gesellschaft mit Witz, Poesie und Lebensfreude. Regisseur: Éric Guirado Éric Guirado wurde am 16. September 1968 in Lyon geboren. Er arbeitete zunächst als Journalist und dann als Regisseur und Drehbuchautor von Dokumentar- und Kurzfilmen.
    [Show full text]
  • Nikos Kazantzakis and Albert Camus
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-1973 Nikos Kazantzakis and Albert Camus Maria Eugene Oakberg University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the French and Francophone Language and Literature Commons Recommended Citation Oakberg, Maria Eugene, "Nikos Kazantzakis and Albert Camus. " Master's Thesis, University of Tennessee, 1973. https://trace.tennessee.edu/utk_gradthes/2660 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Maria Eugene Oakberg entitled "Nikos Kazantzakis and Albert Camus." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in French. Karen Levy, Major Professor We have read this thesis and recommend its acceptance: Paul Barrett, Jacqueline Elliott Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) July 9, 1973 To the Graduate Council: I am submitting herewith a thesis written by Maria Eugene Oakb erg entitled "Nikos Kazantzakis and Alb ert Camus." I recommend that it be accepted fo r nine quarter hours of credit in partial fulfillment of the requirements fo r the degree of Master of Arts , with a major in French .
    [Show full text]
  • Du 14 Mai Au 26 Juin 2010 - LORENZACCIO
    Du 14 mai au 26 juin 2010 - LORENZACCIO Lorenzaccio est soutenu par : Nous remercions nos partenaires Hertz, Biblos et Gandousier pour leur soutien : Les Célestins, Théâtre de Lyon sont soutenus par le cercle des entreprises mécènes : Premier membre fondateur Membre associé Membre ami CONTACT PRESSE Magali Folléa Tél. 04 72 77 48 83 [email protected] Vous pouvez télécharger les dossiers de presse et photos des spectacles sur notre site www.celestins-lyon.org La vie est comme une cité : on peut y rester cinquante ou soixante ans sans voir autre chose que des promenades et des palais, mais il ne faut pas entrer dans les tripots, ni s'arrêter, en rentrant chez soi, aux fenêtres des mauvais quartiers. Lorenzo / acte III / sc. 3 Du 14 mai au 26 juin 2010 - LORENZACCIO Création dans le département du Rhône Depuis 6 ans, les Célestins font découvrir leurs spectacles dans plusieurs communes du département du Rhône. L’aventure a commencé en 2004 avec la tournée sous chapiteau de La Cuisine d’Arnold Wesker. L’action s’est étendue avec Jeux Doubles de Cristina Comencini puis la saison dernière avec Les Embiernes commencent par Émilie Valantin. Cette saison, c’est la nouvelle création des Célestins, Lorenzaccio d’Alfred de Musset, mise en scène par Claudia Stavisky qui parcourt le département. Comme en 2004, nous renouons avec l’atmosphère du chapiteau, pour présenter ce spectacle et retrouver l’ambiance conviviale des représentations que génère cette forme éphémère et itinérante. Au cœur de cette démarche réside pour nous la nécessité de garantir une qualité artistique, technique et d’accueil égale à celles proposées au public lyonnais.
    [Show full text]
  • Philippe Torreton Roch Maurin Ollès* Enée Vincent Garanger Grinch Frederico Semedo Bakou Bénédicte Mbemba Céleste Riad Gahmi* Mourad Nathalie Matter Filip, Betty
    PRODUCTION 18 | 19 CRÉÉE À LA COMÉDIE J'AI PRIS MON PÈRE SUR MES ÉPAULES Fabrice Melquiot | Arnaud Meunier Dossier de presse CONTACTS PRESSE nationale Nicole Czarniak Licences d’entrepreneur de spectacle : 1 – 1-1051707 / 2 1-1051708 3 1-1051709 06 80 18 22 75 | [email protected] | régionale Charlyne Azzalin 04 77 25 37 85 | [email protected] © Valérie Borgy © Valérie J'AI PRIS MON PÈRE SUR MES ÉPAULES de Fabrice Melquiot mise en scène Arnaud Meunier collaboration artistique Elsa Imbert assistante à la mise en scène et dramaturge Parelle Gervasoni assistant à la mise en scène Fabio Godinho avec (par ordre d'apparition) Rachida Brakni Anissa Philippe Torreton Roch Maurin Ollès* Enée Vincent Garanger Grinch Frederico Semedo Bakou Bénédicte Mbemba Céleste Riad Gahmi* Mourad Nathalie Matter Filip, Betty durée 2h45 *issus de L'École de La Comédie scénographie Nicolas Marie lumières César Godefroy création musicale Patrick De Oliveira vidéo Fabrice Drevet costumes Anne Autran perruques et maquillage Cécile Kretschmar construction décor et costumes Ateliers de La Comédie de Saint-Étienne Remerciements à Cécile Laloy production La Comédie de Saint-Étienne, Centre dramatique national coproduction Les Théâtres de la Ville de Luxembourg, Célestins - Théâtre de Lyon Avec la participation du jeune théâtre national et le soutien du Fonds d’Insertion pour Jeunes Artistes Dramatiques, D.R.A.C. et Région Sud - Provence-Alpes-Côte d'Azur L'Arche est éditeur et agent théâtral du texte représenté CALENDRIER TOURNÉE 18 | 19 Création
    [Show full text]
  • Prof. Alain-Philippe Durand Humanities Seminar 520-621-5452 Spring 2014 E-Mail: [email protected] W 1:00-4:00Pm Po
    Prof. Alain-Philippe Durand Humanities Seminar 520-621-5452 Spring 2014 E-mail: [email protected] W 1:00-4:00pm Poetry Center WHAT MAKES THE FRENCH LAUGH: FRENCH FILM COMEDY CLASSICS RECOMMENDED READINGS (subject to change) Gordon, Rae Beth. Why the French Love Jerry Lewis: From Cabaret to Early Cinema. Palo Alto: Stanford UP, 2001. Lanzoni, Rémi Fournier. French Cinema. From Its Beginnings to the Present. New York: Continuum, 2004. Sypher, Wylie, ed. Comedy. An Essay on Comedy by George Meredith. Laughter by Henri Bergson. Baltimore: Johns Hopkins UP, 1956. FILMOGRAPHY (subject to change) L’arroseur arrosé [The Sprinkler Sprinkled]. Dirs. Lumière Brothers, 1895, 00:01:13. Boudu sauvé des eaux [Boudu Saved From Drowning]. Dir. Jean Renoir, 1932, 01:26:00. Mon Oncle [My Uncle]. Dir. Jacques Tati, 1958, 01:56:00. La Grande Vadrouille [Don’t Look Now, We’re Being Shot at]. Dir Gérard Oury, 1966, 01:59:00. Le Distrait [The Daydreamer]. Dir. Pierre Richard, 1970, 01:40:00. Les Aventures de Rabbi Jacob [The Mad Adventures of Rabbi Jacob]. Dir. Gérard Oury, 1973, 01:32:00. Un éléphant, ça trompe énormément [Pardon Mon Affaire]. Dir. Yves Robert, 1976, 01:45:00. La Chèvre [The Goat]. Dir. Francis Veber, 1981, 01:30:00. Trois hommes et un couffin [Three Men and a Cradle]. Dir. Coline Serreau, 1985, 01:46:00. Les Visiteurs [The Visitors]. Dir. Jean-Marie Poiré, 1993, 01:47:00. Gazon maudit [French Twist]. Dir. Josiane Balasko, 1995, 01:41:00. La Vérité si je mens [Would I Lie to You?]. Dir.
    [Show full text]
  • Chicken with Plums
    CHICKEN WITH PLUMS a film by Marjane Satrapi and Vincent Paronnaud Adapted from the graphic novel Chicken with Plums by Marjane Satrapi Venice International Film Festival 2011 Toronto International Film Festival 2011 Tribeca Film Festival 2012 91 min | Language: French (with English subtitles) East Coast Publicity West Coast Publicity Distributor Hook Publicity Block Korenbrot Sony Pictures Classics Jessica Uzzan Ziggy Kozlowski Carmelo Pirrone Mary Ann Hult Tami Kim Lindsay Macik 419 Lafayette St, 2nd Fl 110 S. Fairfax Ave, #310 550 Madison Ave New York, NY 10003 Los Angeles, CA 90036 New York, NY 10022 [email protected] 323-634-7001 tel 212-833-8833 tel [email protected] 323-634-7030 fax 212-833-8844 fax 646-867-3818 tel SYNOPSIS Teheran, 1958. Since his beloved violin was broken, Nasser Ali Khan, one of the most renowned musicians of his day, has lost all taste for life. Finding no instrument worthy of replacing it, he decides to confine himself to bed to await death. As he hopes for its arrival, he plunges into deep reveries, with dreams as melancholic as they are joyous, taking him back to his youth and even to a conversation with Azraël, the Angel of Death, who reveals the future of his children... As pieces of the puzzle gradually fit together, the poignant secret of his life comes to light: a wonderful story of love which inspired his genius and his music... DIRECTORS’ STATEMENT By Marjane Satrapi & Vincent Paronnaud Chicken with Plums is the story of a famous musician whose prized instrument has been ruined.
    [Show full text]