Fabien Gorgeart Delphine de Vigan
Les Gratitudes
Les Gratitudes, Fabien Gorgeart et Delphine de Vigan © Jean Louis Fernandez ©
Les Gratitudes, Fabien Gorgeart et Delphine de Vigan © Jean Louis Fernandez ©
Les Gratitudes, Fabien Gorgeart et Delphine de Vigan © Jean Louis Fernandez ©
Les Gratitudes, Fabien Gorgeart et Delphine de Vigan © Jean Louis Fernandez ©
Based on Les Gratitudes by Delphine de Vigan
Directed by Fabien Gorgeart
Performers: Laure Blatter, Catherine Hiegel, Pascal Sangla
Assistant director, Aurélie Barrin
Adaptation, Fabien Gorgeart, Agathe Peyrard
Sound design and live music, Pascal Sangla
Dramaturgy, Agathe Peyrard
Set design, Camille Duchemin
Costumes, Céline Brelaud
Lighting design and stage management, Thomas Veyssière
Sound collaborator, Julien Lafosse
Sound manager, Julien Lafosse
Delegated production CENTQUATRE-PARIS
Coproduction Le Méta - CDN Poitiers ; Festival d'Automne à Paris ; Le Théâtre de La Coupe d'Or - scène conventionnée de Rochefort ; L'Espace 1789 - Scène conventionnée d'intérêt national Art et création - pour la danse de Saint-Ouen ; Théâtre d'Angoulême - Scène nationale ; Espaces Pluriels - Scène conventionnée d'intérêt national Art et création pour la danse de Pau
With the support of the insertion program of the École du TNB
Project supported by the Ministère de la Culture - Drac Île-de-France
Fabien Gorgeart is associate artist at CENTQUATRE-PARIS
Show on tour with 104ontheroad
Thanks, Cécile Brus ; Jacqueline Hiegel ; Lara Otto ; Sandrine Pfeifer
CENTQUATRE-PARIS and Festival d'Automne à Paris are co-producers and co-presenters of this show.
Fabien Gorgeart adapts the narrative might of Les Gratitudes, the novel by Delphine de Vigan. It recounts the final moments in the life of Michka and her words which little by little fail her. Despite the fear of the forthcoming silence, the protagonist builds up a relation with Jérôme, her speech-therapist, enabling her to delve deep into the intricacies of her past.
In the eyes of Fabien Gorgeart, Les Gratitudes is a life-filled novel which is endowed with a great deal of theatrical potential. Onstage, Michka is surrounded by Jérôme and Marie, her two main points of reference at the nursing home where she will end her days. They bear witness to the aphasia which progressively falls victim to, leading to the dislocation of her use of language. Confronted with the violence of this loss, Michka attempts to recover snippets from her past. When she was a child, a couple saved her life. The silence and trauma of yesterday collide with that of the last days of her life. Onstage, Fabien Gorgeart blurs the frontiers between the place of the memory and the present moment. Doubt creeps in… What do we really see? In this wavering of the real, theatre affirms itself, carried along by the words of Delphine de Vigan in a powerful yet delicate way. Our unsettled perception of the stage becomes the breeding ground for an exploration into language and time.
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