COMPAGNIE FRICHE 22.66
THÉÂTRE DE VIDY Direction production and touring Camille Hakim Hashemi Caroline Barneaud AV. E.-H. JAQUES-DALCROZE 5 Mail : [email protected] [email protected] Elisabeth Le Coënt CH-1007 LAUSANNE Mail: [email protected] VIDY.CH/PRODUCTION
VINCENT MACAIGNE En manque VINCENT MACAIGNE EN MANQUE 2 EN MANQUE
Text, direction and scenography : Vincent Macaigne Collaboration scenography : Julien Peissel Light : Jean Huleu Accessories : Lucie Basclet Sound : Marianne Pierré Voice : Matthieu Jaccard Decor construction : Ateliers of theThéâtre de Vidy Technical management : Sébastien Mathé Direction assistant : Salou Sadras Jérôme Chapuis (intern) Administration Cie Friche 22.66 : AlterMachine Camille Hakim Hashemi Elisabeth Le Coënt
With : Thibaut Evrard Liza Lapert Clara Lama-Schmit Sofia Teillet And the extras as well as the kids
Production : Théâtre de Vidy Compagnie Friche 22.66 Coproduction: Théâtre de la Ville - Paris La Villette – Paris TANDEM Scène nationale Holland Festival, Amsterdam With the support of : Ministère de la Culture et de la communication. France
With the support on tour of Pro Helvetia-Fondation suisse pour la culture
Creation on December 13th 2016 at the Théâtre de Vidy
Estimated duration: 1h45 VINCENT MACAIGNE EN MANQUE 3 NOTE OF INTENT To look at oneself. To look at oneself and face it, one’s own failure and one’s own weaknesses. To try to go looking for new collaborators. To attempt to listen to the noise of the world and to come out with a sensation. What did we achieve ? How to have faith in a gesture again ? How to turn a performance into an organic field of thought ? How to ask oneself questions again ?
Well, sorry I lose myself trying to justify a work that would rather be my own attempt to meet actors, collaborators, an organisation, a public. The furious attempt to embrace the multitude of questions, of pain, of joy, of what one could have heard from the world during these last two weeks and four days of work.
Not to create a performance on current events. But on our dark and bright profundity. Our love and intimacy in the world. Our anger and fear of the future. Our culpability and the road already travelled. Not to resolve paradoxes and contradictions. To try to be bigger than the frame.
Here is what it has been like for me ! And I hope you could see my own failure, my own doubts and my own uglinesses, my love, my anger and my great melancholy, but also my joy, our joy ! Our anger and our will to embrace ! VINCENT MACAIGNE, DECEMBER 2016
« Here bellow, you will scatter yourself in a billion vile stories. There is no more new stories to tell here. Setting this foundation down there, in the valley, where lives the mob, you’ve shouted you wanted to open your arms to the world, and to get eaten by the world. And that’s true, my family has eaten all the vital force of thousands of young men, all the people living down there, in the valley. But this is how it is. »
VINCENT MACAIGNE, EN MANQUE (EXTRACT), 2016
En manque © Mathilda Olmi VINCENT MACAIGNE EN MANQUE 4 PRESENTATION
Once upon a time there was a society in which the people living in the high altitudes accumulated money, power and culture. They took control from governments that were incapable of organising community life up there, far from the disorder and violence. In the absence of any collective project, their hierarchies and individualism took hold : better to stay far away and save yourself rather than endanger humanity’s most precious treasures, such as love and culture. Money, power and culture had become a sole force, a single space, the glorious image of the kind of success and exaltation that cannot be shared or can only be shared with parsimony by mitigating the sentiment of lacking and unsatisfied desire. And yet, if those from “up there” lived in a place as euphoric and self-satisfying as all that, it would seem that their world has reached its end. They are without perspective and without any other objective beyond self-celebration and omnipotence. The whole of European culture has been privatized and is being held under lock and key. Ennui reigns and joy is lacking. The only alternative left for those living on high who want to preserve something vital, something alive, is auto-destruction. And so to destroy the family, to destroy desire and confront the rage, they will deliver themselves to those living below. When there is no joy only destruction is capable of revivifying life. Vincent Macaigne situates En Manque in a private foundation that has locked up the entirety of European art in a safe. But the author, actor and film and theatre director does not criticize or expose the savant metaphor of a society blocked by its certitudes, where a handful organise the misery of others. He uses the theatre to get out of the box, beyond the certitudes and obsessions. He sets out in desperate search for a renewed desire to live. To live together, beyond the long- imposed constraints that seem so natural and necessary, he addresses those who’ve come to meet him with the urgency of renewal, in order to avoid total collapse and escape the anguish of solitude. VINCENT MACAIGNE NEW CREATION 5
En manque © Mathilda Olmi VINCENT MACAIGNE EN MANQUE 6 THE THEATRE OF VINCENT MACAIGNE
The theatre of Macaigne is a powerful, keen and ravaging theatre. Its vivacity, its violence - and one might even say, its cruelty - come from rage as much as euphoria, from love as much as despair, from tenderness as much as unconditional refusal. He does not look for a solution, he looks for vitality. He does not seek absolution or conviction, he seeks to remain alive and overtake ideas with actions, to transform analysis into collective action. It is not about pleasing or even convincing, but about setting into motion. It is a theatre of waking, of startling, a theatre which marches on without fear, without shame, without restraint; entirely accomplished in its released power.
For Macaigne, theatre answers a need for exaltation, which is above all a means of going beyond each person’s lot - the weight of the past, hackneyed social conventions, prefabricated dreams. Thus, theatre must be “larger than life” and play with its limits. The director takes this as a public service mission, reminding us that another life is possible. However, he will not tell us what this life is, but mirror our ambiguities back at us instead. He will be neither preacher, nor mentor, nor professor; he will do nothing to reassure, but will be a catalyst for energy, a destroyer of repeated norms without objects, an outlet for sad passions.
Macaigne falls within that line of artists and intellectuals whom Walter Benjamin named the “destructive characters” in 1931. They seek no new images, he wrote, no new ideal, attach themselves to nothing, because they know that nothing lasts. They grab everything they find, fully conscious of their situation in history. But for these same reasons, all circulations appear possible to them, and any event is the occasion to blaze a new trail. So must they always destroy that which pretends to absolve itself of the present moment, but only in order to create a new path, which they will have to provoke and prepare at the same time.
Vincent Macaigne is one of those. Macaigne is an artist who attempts to expose the moral ambiguity of existence. Like Benjamin’s destructive character - which is not destructive - Macaigne does not want to describe new images, or determine a new horizon. He “tests the world in its vocation to be destroyed”, “ruins the existing” “where others run into walls”; however, it is not in order to destroy, but to open new paths and entertain the possibility of setting foot on them. In that, his rage - which is as much an appetite as a “sublimated violence” - is a powerful response to the moribund wait-and-see attitude that characterises contemporary Europe. In his own way, he answers what Philippe Ivernel described as “the double crisis of tradition and modernity which leaves the disconcerted subject in the middle of a desert crossing, chewing yet on some remaining food. From this an energy can suddenly erupt, which is, precisely, disruptive. Munch: The Scream. Monet: Impression Sunrise. Brecht: ‘There is only one limit to doubt: the desire to act.’”
ERIC VAUTRIN (TRANSLATED BY SARAH-JANE MOLONEY) VINCENT MACAIGNE EN MANQUE 7 VINCENT MACAIGNE
Born in 1978, Vincent Macaigne joins the THEATRE DIRECTOR Conservatoire National Supérieur de Paris in 1999. He directed Friche 22.66, his first play, in 2004, Highlights : 2004 Crave by Sarah Kane, Jeune Théâtre National then Requiem 3, an initial version of The Idiot, and 2006 Requiem ou introduction à une journée sans héroïsme by Vincent Hamlet, At Least I Will Have Left a Beautiful Corpse : Macaigne, Ferme du Buisson four generous and vociferous hours at the Festival 2007 Requiem 3, Festival Mettre en scène Théâtre national de Bretagne (2008: Maison des Arts de Créteil, 2011: Théâtre des Bouffes du Nord) d’Avignon in 2011. He also put on plays abroad, in 2009 Idiot !, based on The Idiot by Fyodor Dostoyevsky, Théâtre Chile and Brazil, among other countries. In his National de Chaillot and tour cinema work, he belongs to the younger generation 2009 On aurait voulu pouvoir salir le sol, non ? de Vincent Macaigne, MC2 2011 Au moins j’aurai laissé un beau cadavre [Hamlet, At Least I Will now emerging on the scene. As a director, he won Have Left a Beautiful Corpse] by Vincent Macaigne based on Hamlet by several prizes for his first medium-length film and William Shakespeare, Festival d’Avignon, Théâtre National de Chaillot adapted Dom Juan with the troupe from the Comédie- 2012 En Manque [In Need], creation/laboratory, Ménagerie de Verre, Paris, Festival Étrange Cargo Française. As an actor, he has notably appeared 2014 Idiot ! parce que nous aurions dû nous aimer [Idiot! Because in Thunder by Guillaume Brac, Age of Panic by We Should Have Loved Each Other], based on The Idiot by Fyodor Dostoyevsky, directed by Vincent Macaigne (recreation of his 2009 play Justine Triet, The Rendez-vous of Deja vu by Antonin Idiot!), Théâtre de Vidy, Cie Friche 22.66, Théâtre de la Ville - Paris, Peretjatko, the Fool Circle by Vincent Mariette and Nanterre-Amandiers, Centre dramatique national, Festival d’Automne in Paris, Le Lieu Unique, scène nationale de Nantes, Bonlieu, scène Two friends by Louis Garrel. In 2014, he created Idiot! nationale Annecy and La Bâtie Festival de Genève Because We Should Have Loved Each Other at the December 2016 En manque, after Crave by Sarah Kane, Théâtre de Vidy Théâtre de Vidy, based on Dostoyevsky’s novel. FILM DIRECTOR
2011 Ce qu’il restera de nous, short film with Thibault Lacroix, Anthony Paliotti and Laure Calamy 2015 Dom Juan, with La Comédie-Française
FILM ACTOR
Highlight s : 2008 De la guerre by Bertrand Bonello 2011 Un été brûlant by Philippe Garrel - Achille 2011 La Règle de trois by Louis Garrel (short-film) 2011 Un monde sans femmes by Guillaume Brac (medium-length film) - Sylvain 2011 Moonlight Lover by Guilhem Amesland 9 2013 La Fille du 14 juillet by Antonin Peretjatko - Pator 2013 La Bataille de Solférino by Justine Triet - Vincent 2013 2 automnes 3 hivers by Sébastien Betbeder - Arman 2013 Tonnerre by Guillaume Brac - Maxime 2013 Tristesse Club by Vincent Mariette - Bruno 2014 Eden by Mia Hansen-Løve - David Blot 2015 Une histoire américaine by Armel Hostiou - Vincent 2015 Les Deux amis by Louis Garrel - Vincent 2015 Agnus Dei by Anne Fontaine : Samuel 2016 Des nouvelles de la planète Mars by Dominik Moll 2016 La Loi de la jungle by Antonin Peretjatko
THEATRE ACTOR
Highlight s : 2000 Badier Grégoire by Emmanuel Darley, directed by Michel Didym, Théâtre Ouvert 2003 La Pensée adapted from Leonid Andreyev, directed by Georges Gagneré, Théâtre National de Strasbourg 2004 En enfer Hell by Reza Baraheni, directed by Thierry Bédard, Festival d’Avignon 2004 Le Fou d’Elsa by Louis Aragon, directed by Anne Torrès, Théâtre National de la Colline 2005 L’Échange by Paul Claudel, directed by Joséphine de Meaux, Mériam Korichi, Théâtre d’Auxerre 2006 Atteintes à sa vie by Martin Crimp, directed by Joël Jouanneau, Théâtre de la Cité Internationale Vincent Macaigne © Matthias Steffen 2007 La Thébaïde ou les frères ennemis by Racine, directed by Sandrine Lanno, Nouveau Théâtre de Montreuil, Théâtre de la Manufacture 2007 Kliniken by Lars Norén, directed by Jean·Louis Martinelli, Théâtre Nanterre-Amandiers 2010 La Cerisaie by Anton Chekhov, directed by Julie Brochen, Théâtre National de Strasbourg, Odéon-Théâtre de l’Europe 2012 La Fausse Suivante by Marivaux, directed by Guillaume Vincent, Théâtre National de Bordeaux in Aquitaine VINCENT MACAIGNE EN MANQUE 8 PRESS EXCERPTS Idiot ! Parce que nous aurions dû nous aimer [Idiot! Because We Should Have Loved Each Other]
2014 CREATION AT THE THÉÂTRE DE VIDY
What Vincent Macaigne does here is what he accomplished A furious, funny and disenchanted show. [...] Macaigne in 2011 at the Festival d’Avignon with his Hamlet – retitled walks on the edge of the precipice without ever falling into At least I Will Have Left a Beautiful Corpse (LT of demagogy. [...] Dostoyevsky’s text, massaged and spat out 21.07.2011). He opens the veins of the text, as an artist by actors who bellow with or without microphones, is just and troupe leader, as the grandson of Dostoyevsky and one current among others in this theatre of fluids, more the cousin of Kurt Cobain. poetic than it is anti-establishment. [...] If the theatre
ALEXANDRE DEMIDOFF, « UN IDIOT BARBARE ET SUBLIME À is a body in its death throes, it is clear that Macaigne LAUSANNE » LE TEMPS (13.09.2014) is attempting to reanimate it with electroshocks. Little matter, in the end, whether or not he succeeds. At least, Whomsoever has not yet seen a show by the paradoxical he’ll leave behind a beautiful corpse.
Vincent Macaigne, 36, has not yet experienced how far the ETIENNE SORIN, « MACAIGNE, ESPACE D’ “IDIOT ” », LE FIGARO (07.10.14) violence of playing, screaming, fighting for one’s survival as a character and artist can go. [...] Without infantilising There is such excess, such dramatic firepower in thisIdiot! it, Macaigne’s group have brought The Idiot in touch with Beacause We Should Have Loved Each Other, recreated for our present, have made its world close and fraternal. Is it the Festival d’Automne, that you feel as though you’re because ours is distant and inhuman? being projected into a new theatrical dimension. FABIENNE PASCAUD, TÉLÉRAMA (01.10.2014) The stage-and-screen-director-cum-actor and his commando troupe invest Dostoyevsky’s ferocity in order An uplifting killing game [...]. In the hysterical excess of to talk about the contemporary world, about a (former) means that he equips himself with, Vincent Macaigne youth destroyed by loss of illusions. The first part of goes well beyond the expression of boundless rage. the book (and the play) already contains a great deal Pushing his actors to their limits, he leads them to of anger and bitterness, but hope remains – that of the reveal hidden treasures, that of the genuine decency Prince Myshkin, “The Idiot” – to preserve the beauty and that remains immaculate in each of them – the kind that goodness under threat. In the second part – ironically defines a vision and helps us grow when it comes to introduced by images of the 2012 Hollande-Sarkozy facing adversity. debate – all is lost: the characters, whether they are
PATRICK SOURD, « LE RETOUR DE L’IDIOT ! » liberals, idealists or nihilists, are exhausted one after LES INROCKUPTIBLES (01.10.2014) the other. The tale of this apocalypse that today’s France awaits (just as old Russia once did) is recounted in a For the visionary Macaigne / Myshkin, Idiot! can only be grimacing and sublime show. a excessively alive show, “the offering of a requiem or PHILIPPE CHEVILLEY « MACAIGNE LE “ THÉÂTRISSIME ” » collective sacrifice” [...]. Actors and spectators experience LES ÉCHOS (10.10.14) the absolute of a shared present: “The naivety, the goodness of the Prince, the world There are few nights at the theatre as memorable as that around him, a ferocious, cynical world in which beauty of Idiot!, a free and hard-core adaptation of Dostoyevsky’s and ugliness, blood and laughter are combined” [...]. novel by Vincent Macaigne. This four-hour play is a shock The show plays brilliantly on a joyous intensity, by that leaves you reeling from the vociferous words spat by enjoying even its excesses. [...] The world does not fall the actors. Like at concerts, earplugs are distributed at completely into the shadows, the dream of change is the entrance and the audience makes good use of them. possible, says this Idiot! Because We Should Have Loved There is also a plastic tarpaulin to protect the front-row Each Other... spectators from all kinds of projectiles, foam, soil, gore... By now, we will have given you a little idea about the VÉRONIQUE HOTTE, THEATREDUBLOG (06.10.2014) pumped atmosphere that reigns on stage. But the heart Unusual in France, this major kick to the guts of the of the matter lies elsewhere. Idiot! brilliantly avoids all of codes of representation is obviously one of Macaigne’s the pitfalls of hysterical or superficial, provocative theatre. strengths. [...] His first adaptation ofThe Idiot, in 2009, If the actors yell, they are always justified, and their total was something of a blast. Five years later, the explosive commitment only adds to their credibility. The play paints power is still the same. [...] Collective energy is clearly the a social fresco of the era, with its gallery of portraits, shot key to success. through with huge, private metaphysical doubts, those of Dostoyevsky, echoing those of Macaigne and of each and RENÉ SOLIS, « MACAIGNE VAINQUEUR PAR CHAOS » LIBÉRATION (07.10.14) every one of us. MARIE-ÈVE BARBOER, « GÉNIAL “ IDIOT ! ” », LA PROVENCE (19.10.14) VINCENT MACAIGNE EN MANQUE 9
It must now be acknowledged that there is a “Macaigne Theatre is often great when it goes mad. When it is beside style”, and that this artist must be reckoned with, at least if itself, despotic, imperious and yet tinged with grace; we consider the contemporary theatre scene as a symptom when it pulls spectators hither and yon, exhausting them of contemporary society. [...] The overall aesthetic is that and consoling them at the end of the storm. This offbeat of the dripping and the all-over: the images created are theatre has the sorrowful face of Frenchman Vincent unquestionably remarkable and shocking. Macaigne, filmmaker, actor and director. In September, he
CATHERINE ROBERT, LA TERRASSE (28.10.14) transposed Fyodor Dostoyevsky’s The Idiot at the Théâtre de Vidy, the 1868 novel in which hope flourishes, in which A hysterical happening that is as funny as it is salutary. goodness is perhaps illusory, in which youth conspires in the search for an enchanted dawn, and in which money PATRICK SOURD, « VINCENT MACAIGNE REFAIT L’ “IDIOT ” », LES INROCKUPTIBLES (05.11.14) goes to the head. He projects Prince Myshkin onto the stage, an angel with clumsy wings; Rogozhin, a demon Vincent Macaigne’s staging combines all registers: from with ravishing charm; and Nastassya Filippovna, the star the grotesque to the lyrical, tragedy to derision. The stage that every man wants for his own. becomes a kind of apocalyptic installation, juxtaposing Vincent Macaigne not only fleshes out the framework of a hydra-headed novel, which is a fantastic ambition in itself. the most disparate of images, from Renaissance pieta But he extracts from it, like a plastic artist, the material for to images by Goya or inflatable Mickeys. [...] The an apocalyptic journey that is firstly that of the performers overall effect is one of invention, power and urgency. yelling the text for nearly four hours as though their lives SYLVIANE BERNARD-GRESH, TELERAMA SORTIR (05.11.14) depended on it, and also that of its grandiloquent and punk soundtrack. In the control booth, to one side of the Vincent Macaigne, through his modernising of The Idiot auditorium, Vincent Macaigne grumbles as his comrades invents a theatrical form made of exacerbated snippets perform; getting annoyed when a line is approximate; that are never realistic, evoking all at once the political basically vicariously experiencing each moment of this situation of Tsarist Russia at the peak of the industrial barbaric celebration that he has projected. The Idiot that revolution, that of our French present day, the struggle he subtitled “Because we should’ve loved one another” between capitalism and liberalism, and the failure of thus proves to be not modern, but eternal. It emanates socialisms. [...] Everything explodes, including joy and the fury and despairs of the failed ideals whose origins it the idea that something exists that will be born out of the describes. Vincent Macaigne transfigures our dead ends chaos. into a suppurating fresco to the point of sublimation. His AGNÈS FRESCHEL, « VINCENT MACAIGNE REPREND L’IDIOT ET FAIT Idiot is a disease: the incurable disease of hope. ÉCLATER LA JOIE », ZIBELINE (OCT. 14) ALEXANDRE DEMIDOFF, « LA PULSION MACAIGNE : LE METTEUR EN SCÈNE FRANÇAIS EST L’AUTEUR D’UNE ODYSSÉE INOUÏE », He did it. Vincent Macaigne gave the last performance of LE TEMPS (30.12.2014) his adaptation of Dostoyevsky’s text, Idiot! Because We Should Have Loved Each Other. Be warned, the walls of the theatre that contain the madness of contemporary artists have fallen and this insanity is contagious! The adaptation of Fyodor Dostoyevsky’s The Idiot is freely executed but perfectly mastered. [...] The staging is grandiose; the walls fall throughout the performance, with increasing brio, and sink us into the depths of the auditorium, which receives this great moment of theatre as a reflection of the neurosis of the contemporary scene. “Beauty will save the world”... The world is in a sad state according to the director, but it will be saved by this beauty that he masters so well, but that is not beautiful... That is certainly the revolution we are witnessing.
«ENTRE CRI DE RÉVOLTE JUBILATOIRE ET ÉNERGIE BRÛLANTE», CARNET D’ART (NOV. 2014)
Idiot ! © Samuel Rubio Idiot !© Samuel Rubio VINCENT MACAIGNE EN MANQUE 10
Images of Idiot ! © Samuel Rubio VINCENT MACAIGNE EN MANQUE 11 PRESS EXCERPTS Au moins j’aurai laissé un beau cadavre [At Least I Will Have Left a Beautiful Corpse]
CREATION 2011 AT THE FESTIVAL D’AVIGNON
Faithful to Shakespeare’s emblematic work, while We laugh a lot in the first half; we get a headful, eyeful reinventing and totally rewriting the myth of Hamlet, (apocalyptic lighting, bloodied inflatable castle) and earful the young director presents a modern and dazzling in the second. The text entangles Shakespeare’s play and version entirely adapted to our times, with his troupe Macaigne’s anachronistic and surrealistic prose. [...] of insane, extreme, legendary actors. A staggering Here, it is more likely to be Claudius that is the good guy mise-en-abyme that leaves us winded. [...] But behind (or at least, the least bad). Hamlet is a barbaric aesthete the Felliniesque extravagance of the battlefield full who is more nihilistic than pusillanimous. The women of blood and guts, hides parcels of metaphysical, are tormented souls: the tempestuous mother, Gertrude; eccentric and pure emotions that remind us that “to the tenderhearted fiancée, Ophelia, cheated and abused, be or not to be” remains THE fundamental question. who sweeps the whole kingdom along with her to drown. It is a daring and excessive theatre of barbarism that A hollow tyranny, the insane logic of power... The kind brings us back to the fragility of our human condition. and queen are naked – literally. Something is well and
DELPHINE MICHELANGELI, « UNE NUIT DE ROIS » truly rotten in the state of Denmark... and in the human VAUCLUSE MATIN (11.07.2011) condition. The power of the imagery and the beauty of the theatrical gesture cannot fail to impress. Rapt, shocked or The wild child of contemporary theatre, Vincent Macaigne hypnotised, the audience participates actively throughout commandeers Shakespeare’s Hamlet, which he combines this delirious epic. with own his iconoclastic prose to reinvent the myth and PHILIPPE CHEVILLEY, « DRÔLES DE TRAGÉDIES » LES ÉCHOS (12.07.2011) create an event. [...] This show is all fury, violence and comedy. Plenty to see, plenty to hear, plenty to think With a well-deserved standing ovation and numerous about! Plenty to tickle your funny bone! [...] An organised curtain calls, At Least I Will Have Left a Beautiful Corpse chaos and collective hysteria emerges through Vincent helps the history of theatre directing to progress by Macaigne’s brilliant staging that portrays captivating integrating performance into theatre in a natural way. portraits of beauty and cruelty, akin to Bacon’s paintings. Bravo! The success of this exceptional show is also due to the AMÉLIE BLAUSTEIN NIDDAM, « AU MOINS J’AURAI LAISSÉ UN BEAU actors’ complete commitment. Sublime. CADAVRE, VINCENT MACAIGNE RETOURNE LE CLOÎTRE DES CARMES AU FESTIVAL D’AVIGNON », TOUTE LA CULTURE (10.082011) « DU SANG ET DES RIRES À AVIGNON » TEMPS LIBRE (17.07.2011)
How do you leave behind a beautiful corpse in this ocean of blood that the 21st century is experiencing? Macaigne’s lesson to prince consorts. [...] The technical orgy is incredibly well-controlled and precise. All of the lighting, costumes, sound, special effects technicians and stage assistants form a corpus whose cohesion certainly stems from the genius of the unsettling Macaigne.
PHILIPPE LAROUDIE, «LE THÉÂTRE COMME CHAMP DE BATAILLE» LA MARSEILLAISE (13.07.2011)
We are within the order of great disorder, cataclysms, widespread deconstruction and reconstruction. But it is never meaningless. The stage is simply the reflection of a decomposing world, where all is corruption and lies, violence and betrayals of aborted utopia; [...] Yet we remain captivated by the energy and mastery of the staging. Close-knit, like a troupe, the group of actors assembled demonstrate the same mastery and abundance of energy. All of them, whether in a serious or grotesque manner, set about attacking the stage with an obvious pleasure in acting, without ever taking the easy routes. Buoyed by At Least I Will Have Left a Beautiful Corpse © DR an extreme generosity, they lead us into a theatre of fiery freedom. Everything unites in revolt. Everything bristles with life.
D.M. «UN HAMLET FURIOSO BRÛLE LES PLANCHES DU CLOÎTRE DES CARMES, LA CROIX (12.07.2011)
VINCENT MACAIGNE EN MANQUE 12
CONTACTS - THÉÂTRE DE VIDY
DIRECTION VINCENT BAUDRILLER
DIRECTION PRODUCTION AND TOURING CAROLINE BARNEAUD [email protected] +41 (0)21 619 45 44
PRODUCTION/DIFFUSION ANNE-CHRISTINE LISKE +41 (0)21 619 45 83
ELIZABETH GAY +41 (0)21 619 45 22
TECHNICAL DIRECTION CHRISTIAN WILMART / SAMUEL MARCHINA [email protected] +41 (0)21 619 45 16 / 81
CONTACT - ALTERMACHINE
CAMILLE HAKIM HASHEMI MAIL : [email protected] ELISABETH LE COËNT MAIL: [email protected]