Maguy Marin
May B
May B
Choreography, Maguy Marin
Costumes, Louise Marin
Light, Compagnie Maguy Marin
Music, Franz Schubert, Gilles de Binche, Gavin Bryars
With Ulises Alvarez, Romain Bertet, Kaïs Chouibi, Laura Frigato, Françoise Leick, Mayalen Otondo, Lia Rodrigues, Ennio Sammarco, Jeanne Vallauri, Adolfo Vargas
Coproduction Maguy Marin Company ; Maison des Arts et de la Culture de Créteil
Revival in 2012 for the Festival d’Automne à Paris in corealisation with Le CENTQUATRE – Paris and Théâtre du Rond-Point
In 2012, Maguy Marin Company is funded by Ministère de la Culture et de la Communication and the city of Toulouse and Région Midi-Pyrénées..
Partnership with France Inter
Premiered Novembre 4, 1981 at Théâtre Municipal d'Angers
To create May B, Maguy Marin drew inspiration from Samuel Beckett’s characters, who struggle to form human bonds in spite of the absurdity of life.
Her choreography builds upon their constantly interrupted circulations.
The piece, created in 1981 and now considered a masterpiece of contemporary dance, has been performed worldwide, and is still as riveting and subversive today as it was thirty years ago.
In the same place
LIMINAL, Forensic Oceanography, Border Forensics From Sea to Sky
Featuring different works by the LIMINAL, Forensic Oceanography and Border Forensics collectives, the multimedia installation From Sea to Sky approaches intersectional immobility and frontier-based violence at sea. The objective is to highlight the way in which the Mediterranean maritime space has been transformed into a militarized border zone.
Lawrence Abu Hamdan Zifzafa
Zifzafa, is an arabic word to describe a wind that shakes and rattles all in its path. Here, it becomes the title of a performance of artist and researcher Lawrence Abu Hamdan, that enmeshes sonic composition, video game engines and spoken word, to immerse us in the heart of a movement to resist green colonialism in the occupied Syrian Golan heights.
Talents Adami Theater, Mohamed El Khatib Stand-up
What will it be this time: thunderous applause or icy silence? In Mohamed El Khatib's opinion, the inherently risky nature of stand-up comedy elevates it to a theatrical art in its own right. A framework for expression of all kinds, it clears the path for transgressive laughter, in a cathartic space which brings us all together.
Vaiva Grainytė, Lina Lapelytė, Rugilė Barzdžiukaitė Have a Good Day!
Have a good day! arises from the collaboration of Vaiva Grainytė, Lina Lapelytė, and Rugilė Barzdžiukaitė. The three artists turn their focus toward the inner lives of cashiers in a shopping centre. “Good afternoon!”, “Thank you!”, “Have a good day!” : this opera examines what lies behind mechanical statements and their associated perfunctory gestures.
Mohamed Bourouissa, Zazon Castro Quartier de femmes
At the crossroads between theatre and stand-up, the first show by the visual artist Mohamed Bourouissa brings to the stage the different phases in the life of a woman in prison and its transformations. In the absence of pathos, the piece uses humour to circumvent the arduous nature of its subject matter.
Alessandro Sciarroni U. (un canto)
A year after the premier of IRIS at the Butte-aux-Cailles swimming pool, commissioned by the Festival d'Automne, in which he explored the Italian polyphonic repertoire, Alessandro Sciarroni brings us U. (un canto). This music-based performance piece evokes the profoundly mysterious relationship between human beings and nature.
Lina Majdalanie, Rabih Mroué 33 tours et quelques secondes
Who is Diyaa Yamout, the Lebanese human rights activist, artist and blogger whose suicide shook the nation? We will never really know and this is not what matters. Indeed, what is far more fascinating here is the profusion of assorted reactions on Facebook, the television, and in the form of SMS and answering machine messages
Lina Majdalanie, Rabih Mroué Quatre murs et un toit
In 1947, the trial of German playwright Bertolt Brecht took place in the United States in front of the House Un-American Activities Committee (HUAC), responsible for combating communist activism. It was here that Brecht wrote a declaration which he was forbidden to read out. The minutes of the trial, as well as this declaration, constitute one of the axes of this exuberant show.