Julien Gosselin
Le Passé
© Le Passé, Julien Gosselin © Simon Gosselin ©
© Le Passé, Julien Gosselin © Simon Gosselin ©
© Le Passé, Julien Gosselin © Simon Gosselin ©
Adapted and staged by Julien Gosselin
Stage work, Eddy d’Aranjo
Staging assistant, Antoine Hespel
Text, Leonid Andreyev
Translation into French, André Markowicz
Featuring Guillaume Bachelé, Joseph Drouet, Denis Eyriey, Carine Goron, Victoria Quesnel, Achille Reggiani, Maxence Vandevelde
Stage design, Lisetta Buccellato
Music, Guillaume Bachelé, Maxence Vandevelde
Lights, Nicolas Joubert
Video, Jérémie Bernaert, Pierre Martin
Sound, Julien Feryn
Costumes, Caroline Tavernier, Valérie Simonneau
Accessories, Guillaume Lepert
Masks, Lisetta Buccellato, Salomé Vandendriessche
Set coordinator – creative, Léo Thévenon
Set coordinator – tour, Simon Haratyk, Guillaume Lepert
Set manager, David Ferré
Lights coordinator, Zélie Champeau
Sound coordinator, Hugo Hamman, Jules Lotscher
Video coordinator, Céline Baril, David Dubost, Baudouin Rencurel
Costumes coordinator, Florence Tavernier
Technical interns, Pierrick Guillou, Audrey Meunier
Administration, production, broadcast, Eugénie Tesson
Tour and cultural action organized by Marion Le Strat
Administration, Olivier Poujol
Technical director, Nicolas Ahssaine
Décor and painted canvas provided by Ateliers Devineau
Produced by Si vous pouviez lécher mon cœur
Co-produced by Odéon-Théâtre de l’Europe (Paris); Le phénix, scène nationale de Valenciennes – pôle européen de création; Théâtre National de Strasbourg; Théâtre du Nord, CDN Lille – Tourcoing Hauts-de-France; Célestins, Théâtre de Lyon et Théâtre National Populaire de Villeurbanne; Maison de la Culture d’Amiens – a European prodution and creation hub; L’empreinte, Scène nationale Brive-Tulle; Château Rouge, scène conventionnée à Annemasse; La Comédie de Genève; Wiesbaden Festival; La Passerelle, scène nationale de Saint-Brieuc; Scène Nationale d’Albi; Romaeuropa; Festival d’Automne à Paris
With support from Montévidéo, T2G Théâtre de Gennevilliers – centre dramatique national
With exceptional support from DGCA/Drac Hauts-de-France artistic support from Théâtre National Coréalisation MC93 – maison de la culture de Seine-Saint-Denis (Bobigny); Festival d’Automne à Paris
Drawing upon his customary mixture blend of theatre, texts, images, and musical creation, Julien Gosselin and his company Si vous pouviez lécher mon coeur also summon up, in this unique look at the past, painted canvasses, candle-lit footlights, flats, and ancient costumes. These glass-enclosed spaces cohabit with the camera, like images from the contemporary world.
Between the prolix decorum of a bourgeois salon, winter gardens, painted landscapes, and acting for those in the pit, Julien Gosselin and his seven actors and musicians bring us a homage to disappeared art and humanity. It is a profound reverence to times which are incomprehensible today, as if seen from space, or from the future. He mixes life and theatre all together, in a way which Leonid Andreev did with so much ardour. A parallel is drawn up between humanity's forthcoming disappearance and the present-day dissolution of a certain type of theatre. It is one which puts us in contact with lost worlds, human beings no longer in existence, and languages which have changed over the course of time. It gives us the opportunity to bring the dead back to life, even if for a fleeting moment.
In the same place
Soa Ratsifandrihana Fampitaha, fampita, fampitàna
Committing moving bodies to a contemporary form of orality, Soa Ratsifandrihana, the guitarist Joël Rabesolo and performers Audrey Mérilus and Stanley Ollivier draw on their diasporic narratives and origins to tell a story they would have liked to hear or see. The three Malagasy words Fampitaha, fampita, fampitàna, meaning comparison, transmission and rivalry, form variations in which the performers slide in and out of different states and seem to follow a movement in perpetual metamorphosis.
Jeanne Balibar Les Historiennes
Three women return from the past thanks to three female contemporary historians who bring them back to life via three separate accounts. Here, the actress Jeanne Balibar uses them as the basis for a staged reading. Four women from today’s world take a particularly eloquent and incisive look at three emblematic female destinies.
Nacera Belaza La Nuée
With a reputation for minimalist and captivating choreographies, Nacera Belaza continues the exploration of the circle and rhythm she initiated with Le Cercle (2019) and L'Onde (2021), both landmarks in her choreographic language. Following on from an initial period of creation in Brussels in May 2024, the choreographer then enlarged the creative process of La Nuée by inviting ten new performers to the stage.
Stefan Kaegi (Rimini Protokoll) This is not an embassy (Made in Taiwan)
Rimini Protokoll's roving director Stefan Kaegi takes us, in the company of three native performers and residents, to the island of Taiwan. The fictional element of this show, in which the onstage action filmed live takes us through the twists and turns of a miniature décor, points to a somewhat grotesque geopolitical reality.
Rosana Cade, Ivor MacAskill The Making of Pinocchio
Drawing upon Collodi's tale, the Cade-MacAskill duo uses theatre to investigate the little- explored realms of queer love and affection. In doing so, they tell the story of gender transition and its repercussions on the couple. The piece itself, The Making of Pinocchio, becomes a burlesque-inspired manifesto for different forms currently under construction.
Joël Pommerat Marius
Inspired by the work of Marcel Pagnol, this show explores the theme of escape. Some of the actors had their first experience of theatre at the Maison centrale d'Arles prison. Marius provides audiences with a unique opportunity to discover a little-known but crucial dimension of Joël Pommerat's art.