Nicolas Bouchaud
Un vivant qui passe d’après Claude Lanzmann
© ©JeanLouisFernandez ©
© ©JeanLouisFernandez ©
© © JeanLouisFernandez ©
A project by Nicolas Bouchaud
Directed by, Eric Didry
Based on Un vivant qui passe (A Visitor from the Living) by Claude Lanzmann
Adaptation, Nicolas Bouchaud, Éric Didry, and Véronique Timsit
With Nicolas Bouchaud
Artistic collaboration, Véronique Timsit
A coproduction by Théâtre de la Bastille and Festival d’Automne à Paris. This show is presented in association with Théâtre de la Bastille and Festival d’Automne à Paris.
Executive producer, Otto Productions ; andThéâtre Garonne – scène européenne (Toulouse)
A coproduction by Compagnie Italienne avec Orchestre (Paris) ; La Comédie de Clermont-Ferrand, scène nationale ; Bonlieu scène nationale Annecy ; Théâtre national de Nice – centre dramatique national Nice-Côte d’Azur ; Comédie de Caen – centre dramatique national de Normandie ; Théâtre de la Bastille (Paris) ; and Festival d’Automne à Paris
In association with Théâtre de la Bastille (Paris) ; and Festival d’Automne à Paris
Partnership with France Inter
Following on from the adaptation of the novel by Thomas Bernhard Maîtres Anciens (Old Masters) the director and writer Nicolas Bouchaud continues his exploration of non-theatre texts for the stage. The book Un vivant qui passe (A Visitor from the Living), the transcription of an interview conducted by Claude Lanzmann during the filming of Shoah, lies at the heart of this new show.
For his documentary Shoah, Claude Lanzmann interviews Maurice Rossel, former representative of the International Red Cross, in Berlin. On the 23rd June 1944, the young Rossel set off to inspect the Terezin « show ghetto » or « ghetto Potemkine » in the former Czechoslovakia. Hoodwinked by the staging orchestrated by the nazis, he neither saw nor understood what was going on. From the encounter between this man and the director was born another film, followed by a book, Un vivant qui passe. In it, Claude Lanzmann poses a central question : what is seeing? In the company of his long-term collaborators Éric Didry and Véronique Timsit, Nicolas Bouchaud uses this testimony as a way of asking if this passive spectator of barbarism was in fact the voice of a commonplace form of antisemitism ever present in the contemporary world. Similar to the cinematographer, the artistic gesture of the actor-creator invites us, by means of the stage, to reinvent, over and over again, the passing on of the story of the Shoah.
In the same place
Gurshad Shaheman, Dany Boudreault Sur tes traces
The piece takes us a road-trip in the form of a double portrait involving two destinies, namely those of Gurshad Shaheman born in Iran, and Dany Boudreault in Quebec. Authors, directors and performers, the two artists got to know each other in Europe. Here, each of them sets off in search of their respective pasts.
Marion Duval Cécile
Certain encounters are life-changing. This piece is about Marion Duval's encounter with Cécile Laporte, an activist and author to whom she has decided to dedicate a show. The resulting 'truth-performance' is an inspiring one and enables us to embrace the unbearable complexity of the world in a light-hearted way.
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.
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.
Calixto Neto IL FAUX
Starting with the initial premise that a black body is by its very nature exposed to the danger of expropriation, or that of being stolen from itself, Calixto Neto tries to resist against exterior control and the risk of annihilation. In this exercise in ventriloquism, the Brazilian choreographer searches for the words with which to write dance.
Jaha Koo Haribo Kimchi
Haribo Kimchi, a hybrid performance combining text, music, video and robotics, embraces South Korean cuisine as part of an investigation into cultural assimilation, together with its conflicts and paradoxes. It enables Jaha Koo to ask questions first raised in his Hamartia trilogy.
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.