Vincent Macaigne
Avant la terreur
© Avant la terreur, Vincent Macaigne © Simon Gosselin ©
© Avant la terreur, Vincent Macaigne © Simon Gosselin ©
© Avant la terreur, Vincent Macaigne © Simon Gosselin ©
Text, direction, visual and scenic design, Vincent Macaigne
Based on Shakespeare and other texts
Performers, Sharif Andoura, Max Baissette de Malglaive, Candice Bouchet, Thibault Lacroix, Clara Lama Schmit, Loïc Le Roux, Pauline Lorillard, Pascal Rénéric, Sofia Teillet – and alternating children
Assistant director, Clara Lama Schmit
Lighting design, Kelig Le Bars
Accessories and assistant general manager, Lucie Basclet
Video design, Noé Mercklé-Detrez, Typhaine Steiner
Sound design, Sylvain Jacques, Loïc Le Roux
Costumes, Camille Aït Allouache
Stage management, François Aubry aka "Moustache", Sébastien Mathé
Set design collaboration, Carlo Biggioggero, Sébastien Mathé
Creative assistance and lighting control, Edith Biscaro
Stage management and accessories, Manuia Faucon
Stage management, Tanguy Louesdon
Video management, Laurent Radanovic, Stéphane Rimasauskas
Production management, Lucila Piffer
Set construction, MC93 workshop and Théâtre de Liège workshop
Trainee stage directors, Noémie Guille, Nathanaël Ruestchmann
Accessories trainee, Anna Letiembre-Baës
And the teams at the MC93
Produced by MC93 - Maison de la Culture de Seine-Saint-Denis; Compagnie Friche 22.66
Coproduced by TNB Théâtre national de Bretagne; Les Théâtres de la Ville de Luxembourg; TANDEM - Scène nationale (Douai-Arras); Bonlieu - Scène nationale d'Annecy; Festival d'Automne à Paris; La Colline – théâtre national; Célestins, Théâtre de Lyon; Le Quartz - Scène nationale de Brest; Domaine d'O Montpellier –Cité européenne du théâtre; Théâtre de Liège (in progress)
With financing from the Île-de-France region
With the support of the Fondation d'entreprise Hermès
The MC93 - Maison de la Culture de Seine-Saint-Denis and the Festival d'Automne à Paris are co-producers and co-presenters of this performance
Vincent Macaigne probes deep into the most cult-like of the different Shakespearian Richards, Richard III, stripping away the central character's demonic aura in order to make him into a dangerous idiot. From out of this both terrifying and hilarious text, he brings us a joyously apocalyptic piece of total theatre, in which laughter keeps the worst of all worlds at bay.
Vincent Macaigne returns to the stage after an absence of six years in this weaving together of his readings of Hamlet (Au moins j’aurai laissé un beau cadavre) and The Idiot by Dostoyevsky. Via the character of Richard, he not only tackles a figure taken from our collective cultural heritage, but also, and more importantly, a man who is more stupid than he is evil. We are confronted with an idiot in the most negative sense of the word, a Hamlet who has gone awry, severely so, obsessed by power and hidden away in his own world, with no-one apart from his circle of scheming counterparts for company. In a free-ranging adaptation of this great text which is as chilling as it is burlesque, he provides us with a grand piece of theatre which is joyously apocalyptic, and in which laughter always comes to the rescue. On a stage overflowing with props, the actors – some of whom are children –, driven by an overflowing form of energy, perhaps that of despair, summon up a world in which buffoonery is never far from the worst, nor the utopic from the nihilistic. This is a world whose ambient brutality has left its ugly, indelible mark on innocence. Any resemblance to…
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.