Animal Architecte
BANDES
© Jean-Louis Fernandez ©
© Jean-Louis Fernandez ©
© Jean-Louis Fernandez ©
Stage design, Emma Depoid
Loosely based on Lipstick traces: A Secret History of the Twentieth Century by Greil Marcus, with the agreement of éditions Allia
With Théo Chédeville, Hélène Morelli, Roman Kané, Thomas Mardell, and Nina Villanova
Dramaturgy, Mathieu Garling
Lighting design and operator, Sébastien Lemarchand
Composer, Kaspar Tainturier-Fink
Video design, Germain Fourvel
Sound, Kaspar Tainturtier-Fink and Félix Philippe
Costumes, Emma Depoid
With the complicity of Aclin Marah for the choral direction
This show is a coproduction by Festival d’Automne à Paris. It is presented in association with La Commune centre dramatique national d’Aubervilliers.
A production by Animal Architecte ; Bureau Formart (Paris)
A coproduction by Le Maillon, Théâtre de Strasbourg – Scène européenne ; Centre dramatique national de Tours – Théâtre Olympia ; La Comédie de Reims, centre dramatique national ; TANDEM, scène nationale (Douai-Arras) ; Le phénix, scène nationale de Valenciennes – pôle européen de création ; and Festival d’Automne à Paris
In association with La Commune centre dramatique national d’Aubervilliers ; and Festival d’Automne à Paris
With production support from the Ministère de la Culture, DRAC Grand-Est, and Ville de Strasbourg
With support from the Fonds de dotation création Porosus, La Loge hors-les-Murs
With artistic participation from Jeune Théâtre National (Paris)
With support and technical assistance from Plateaux Sauvages (Paris), T2G – Théâtre de Gennevilliers, centre dramatique national, Théâtre du Radeau (Le Mans), and Le Maillon Théâtre de Strasbourg – Scène européenne
This show benefited from a residency at Le Gallia – Théâtre Cinéma Saintes – Scène conventionnée
An action financed by Région Île-de-France – Fonds régional pour les talents émergents (FoRTE)
Who are our dead friends? Camille Dagen and Emma Depoid ask themselves this question, in a hybrid, lively, palimpsest-like show. From the standpoint of their own generation, they question the passage of time by convoking groups or gangs of friends – 'bandes' – from the past, as well as their collective dreams, and what remains of them.
Lipstick traces: A Secret History of the Twentieth Century was what started the whole project off. Greil Marcus's writing examines groups which shared a radical view of the world around them, an artistic and subversive inventiveness and a burning desire to turn pavements into dance-floors. The team of ten artists behind BANDES, consisting of five actors and five technical creators, traverse these stories of groups which come together, share a collective vibe – and then break up. At what point does it all change? When is friendship alone no longer enough? Their writing, made up of palindromes, delves into the performing arts and archives alike, and brings an apocalyptic Sex Pistols concert into contact with a contemporary dispute and an encounter with a former young Lettrist. It finds its resonance on a stage which is always in movement, just as our memories are, those of our bodies and of our cities, the hidden conveyors of the traces of the past. BANDES acknowledges, in a subtle way, those moments which are hark back to times gone by, and which change our lives.
In the same place
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Ligia Lewis Still Not Still
In Still Not Still, choreographer Ligia Lewis pursues her exploration into the silences and shadows of history. In this piece, the performers play out a score over and over again, the burlesque dimension of which makes it all the more tragic.
Lina Majdalanie, Rabih Mroué Biokhraphia
These two one-person shows, Biokhraphia et Riding on a cloud, are an investigation into the self-portrait. In Riding on a Cloud, a man called Yasser speaks into a dictaphone, projects videos and broadcasts recordings, whilst expressing reservations about the extent to which these documents coincide with his true self. In Biokhraphia, it is Lina Majdalanie who becomes the subject of a very unusual interview.
Lina Majdalanie, Rabih Mroué Riding on a cloud
These two one-person shows, Biokhraphia and Riding on a cloud, are an investigation into the self-portrait. In Riding on a Cloud, a man called Yasser speaks into a dictaphone, projects videos and broadcasts recordings, whilst expressing reservations about the extent to which these documents coincide with his true self. In Biokhraphia, it is Lina Majdalanie who becomes the subject of a very unusual interview.
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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.
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Mohamed El Khatib La vie secrète des vieux
Mohamed El Khatib furthers his passion for documentary theatre by tackling a subject that he brings from out of the shadows, namely that of eroticism and the love lives of “oldies”. Put together in a daring yet tender way, his new piece explores this theme from the perspective of desire, thereby going against the usual connotations associated with old age.