Fabien Gorgeart, Delphine de Vigan
Les Gratitudes
novembernov 5
novembernov 7
novembernov 12
Jean-Louis Fernandez ©
Tuesday november 5
20h30
Thursday november 7
20h30
Tuesday november 12
20h30
Based on Les Gratitudes de Delphine de Vigan. Directed by Fabien Gorgeart. Performed by 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. Scenography Camille Duchemin. Costumes Céline Brelaud. Lighting design and stage management Thomas Veyssière. Sound assistant Julien Lafosse. Sound engineer Julien Lafosse alternating with Annabelle Maillard.
Delegated production CENTQUATRE-PARIS
Coproduction Le Méta — Centre dramatique national Poitiers Nouvelle-Aquitaine ; Théâtre de la Coupe d’Or – Scène conventionnée de Rochefort ; Espace 1789, scène conventionnée danse – Saint-Ouen ; Théâtre d’Angoulême, Scène nationale ; Espaces Pluriels – Scène conventionnée d’intérêt national Art et création pour la danse de Pau ; Festival d’Automne à Paris
With the support of the integration programme of the École du TNB and the Centre national de la musique
Project supported by the Drac Île-de-France – ministère de la Culture
Fabien Gorgeart is an associate artiste of CENTQUATRE-PARIS
Acknowledgements Lucie Blain ; Cécile Brus ; Jacqueline Hiegel ; Lara Otto ; Sandrine Pfeifer ; Manuel Schapir
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. As a child of Jewish origin, she grew up in hiding during the war. She remembers the house where she was hidden and eventually found. In this way, the silence of History encounters her inner life story, and the traumas of the past enter into collision with that of her dying days. 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.