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Une Mouette et autres cas d’espèces

Édith Azam, Liliane Giraudon, Angélica Liddell, Nathalie Quintane, Jacob Wren, Annie Zadek et Jérôme Game
Created in 2016

Une Mouette et autres cas d’espèces

Édith Azam, Liliane Giraudon, Angélica Liddell, Nathalie Quintane, Jacob Wren, Annie Zadek et Jérôme Game
Created in 2016

Free rewriting of The Seagull from Anton Chekhov by Édith Azam, Liliane Giraudon, Angélica Liddell, Nathalie Quintane, Jacob Wren, Annie Zadek and Jérôme Game

Direction and scenography: Hubert Colas
With: Céline Bouchard-Cadaugade, Heidi-Éva Clavier, Jonathan Drillet, Valère Habermann, Florian Pautasso, Vilma Pitrinaite, Thierry Raynaud, Yuval Rozman, Cyril Texier, Laure Wolf

Assistant director: Sophie Nardone
Video: Pierre Nouvel
Lights: Hubert Colas et Fabien Sanchez
Sound: Frédéric Viénot
Costumes: Frédéric Cambier with Alexandre Chagnon
Dramaturgic viewpoint: Sarah Cillaire
Traduction of Angélica Liddell’s writings: Christilla Vasserot
Traduction of Jacob Wren’s writings: Christophe Bernard
Clown Workshop: Alain Gautré
Voice picking: Sophie Hervé
Singing manager: Thomas Tacquet
Set building: Nanterre-Amandiers CDN
Thanks to SPRUNG Frères for the furs

Production : Diphtong Cie
Coproduction : Théâtre Gymnase-Bernardines (Marseille), Nanterre-Amandiers - Centre Dramatique National, Bonlieu Scène nationale Annecy, Pôle Arts de la Scène - Friche la Belle de Mai (Marseille), Théâtre Paul Eluard de Choisy-le-Roi - Scène conventionnée pour la diversité linguistique, Théâtre Anne de Bretagne (Vannes), Théâtre d’Arles, Scène conventionnée pour les nouvelles écritures
With the support of FIJAD, Fonds d’Insertion pour Jeunes Artistes Dramatiques, D.R.A.C. et Région Provence-Alpes-Côte d’Azur, montévidéo, créations contemporaines, SPEDIDAM, Conseil départemental des Bouches-du-Rhône - Centre départemental de créations en résidence
For this project, Hubert Colas and Diphtong Cie was in residence at Fondation Camargo, Bonlieu Scène nationale Annecy and Nanterre-Amandiers - Centre Dramatique National.
Thanks to Humain trop Humain - CDN Montpellier

> Created from 26th to 30th April 2016 in Théâtre Gymnase-Bernardines, Marseille


Duration : 2h20 (without intermission)

For this new creation, Hubert Colas proposed to six contemporary authors to appropriate the characters and situations imagined by Chekhov to speak, in turn, of the world, art, literature and love. Tréplev, Trigorine, Arkadina, Nina: they are all there, not to mention some figures in the repertoire, who haunt the scene and lead us into a troubling fluoroscopy. The result is a multiple piece, which can not be enclosed in any form, sometimes comic, sometimes tragic, handling melodrama and mise en abyme, sometimes flirting with the manifesto. A plurality of languages to better translate our dreams, fears and confusions.
Laurence Pérez

DATES SEASON 2016-2017
30 November - 1 December 2016 in Bonlieu Scène nationale d’Annecy
12-22 January 2017 in Nanterre-Amandiers CDN
26 January 2017 in Théâtre de Coisy-le-Roi

DATES SEASON 2016-2017
In development

Photo : Hervé Bellamy

TEXTE M

Hubert Colas
CREATED IN 2015

TEXTE M

Hubert Colas
CREATED IN 2015

Written, directed, stage designed and performed by: Hubert Colas

in artistic collaboration with:

Assistant director: Sophie Nardone
Video: Pierre Nouvel
Lighting: Fabien Sanchez
Sound: Frédéric Viénot
Costumes: Fred Cambier assisted by Edgar Fichet
Movement: Odile Cazes
Stage Manager: Olivier Achez

Production : Diphtong Cie
With the support of: montévidéo - centre de créations contemporaines
Texte M. is published by ACTES SUD-PAPIERS

-  Texte M has been presented in a first creation step at Théâtre Sorano (Toulouse), 19th and 20th March 2015 and in a second at Usine C (Montreal), 1st and 2nd November 2016


Texte M. was initially commissioned by Artchipel – Scène Nationale de Guadeloupe and Moïse Touré from the theatre company Les Inachevés, under the theme: “What can we rebel against today?” The commission formed part of the celebration of the two hundredth anniversary of the Guadeloupean people’s uprising against the reinstatement of slavery.
Texte M. is the story of a man at grips with his newly recovered freedom. A former slave, he struggles with the modern world’s loneliness. Haunted by memories of his former enslavement, he is hiding in a hole while he struggles with his new condition as a free man. In an attempt to discover this “better world”, he tries to reinvent a new way of living through irony, humour and hallucination.
Texte M. is the story of a man who has lost his bearings in the new world that surrounds him. He does not know how to move on. He sees humans as animals who will do anything. He has no grasp on what he hears. He knows no peaceful path – each new sign becomes the occasion of a battle for his freedom.
Texte M., is the unsettling monologue of a man stuck in a hole: a man who thinks, dreams and rebels. An underground monologue. A new language that aspires to penetrate the mind and address the irreversible separation between the self and the others. Irony and humour become keys to this man’s freedom.

Credit photo : Hervé Bellamy

NECESSAIRE ET URGENT

Annie Zadek
CREATED IN 2014

NECESSAIRE ET URGENT

Annie Zadek
CREATED IN 2014

By Annie Zadek
Direction and scenography: Hubert Colas

With: Bénédicte Le Lamer, Thierry Raynaud
Assistant director: Sophie Nardone and Yuval Rozman
Lights: Hubert Colas and Fabien Sanchez
Sound: Frédéric Viénot
Video: Plan : Hubert Colas / Pictures : Patrick Laffont
Costumes : Fred Cambier assisté de Jérémy Fouqué
Vocal Coach : Marie-Françoise Lefort
Set building : Atelier Décor de humainTROPhumain - CDN de Montpellier

Production Diphtong Cie
Coproduction: La Bâtie-Festival de Genève; Théâtre Garonne (Toulouse); Théâtres Sorano / Jules Julien (Toulouse)
Supported by Carreau du Temple - établissement de la Ville de Paris; Ménagerie de Verre as part of Studiolab (Paris); montévidéo - centre de créations contemporaines (Marseille); du Théâtre Joliette-Minoterie (Marseille); Théâtre d’Arles; Théâtre des 13 Vents - Centre Dramatique National de Montpellier

> Created on 1st and 2nd September 2014 in La Bâtie-Festival de Genève


Sometimes you might, with your entire body, bring forward a silent question and keep delving into it for a while, before turning it into something necessary and urgent.

“(…) How can a major trauma such as this one, exile, still be growing within me today? It had to be identified and retraced.
(…) These are 524 questions I wasn’t able to ask my family about their exile from Poland. They remained unasked because they wouldn’t have been answered, probably to spare me as a child. In 1937 they fled, and they left everything behind. (…) Exile is not just about the misery and the dread. When you leave, you take your youth with you in search of a better life (…)”

Annie Zadek in the radio programme “Atelier fiction” hosted by Blandine Masson, France Culture

Annie Zadek belongs to a generation that was born after World War Two and became assimilated into French culture at the cost of a heavy silence surrounding the collective fate of Polish Jew families. Nécessaire et urgent is a series of questions to be asked from the ghosts – the ghosts of disappeared bodies.
For Annie Zadek the book – or rather, the text – comes first in its primordial seminality. But it forms the starting point for multiple metamorphoses that are just as necessary: theatre, radio, experimental public readings devised on her own or with artists, print, video… This belief in a common creative process at work across different artistic forms is the basis for her writing, which is dedicated to investigating the in-betweens of the self where nothing is exclusive of anything else, where one can be both young and old, male and female, alive and dead, everything and nothing, everything and its contrary.
Not novel, theatre or poetry, but all of those at the same time, and everything else too.
For Annie Zadek, contemporary writing is not about making a clear slate and erasing the past (exclusion process): it is about considering herself as the recipient of the heritage of literature history, art history and History in general (accumulation process).

“JEWISH: my parents were Jewish. They had to flee from their home country, their city and their house, in order to escape the frantic anti-Semitism of the Polish. Their devotion to the ideas of the Enlightenment and the Popular Front led them to France, where I was born. But I wasn’t born a Jew. I became one.
(…)
LANGUAGE (native): my parents would speak together in Yiddish and Polish. They spoke to me in FFL (“French as a Foreign Language”), the same French spoken by Balzac’s Jewish bankers: “You are zo briddy… How you are gruel!... Ach, how ongradevul you are!” (the Baron of Nucingen in Splendors and Miseries of Courtesans). Therefore French is not really my native language: it isn’t my heritage, something transmitted down to me that I can take for granted. It feels more like a treasure of war whose ownership and usage are still vaguely uncertain to me.
(…)
ORIGINS: I could indeed have tried to “reconnect with my roots” as they say, but that is easier said than done when your parents, marranes de gauche, have left you with no homeland, no mother tongue – or grand-mother tongue -, no religion, no recipes, no childhood memories, no family photos.”

Extracts from «Annie Zadek de A à Z» first published in «Les Cahiers de la Biennale de poésie en Val-de-Marne».

EXTRACTS

Why did they stay behind?
Why did they not leave?
Was it because this was their homeland?
Because they had been born in this country?
Because they wanted to be buried there?
Because they had nowhere to go?
Because they couldn’t get themselves to abandon
their home?
Because they couldn’t imagine what would happen
to them?
Were they so ill informed?
Were they not listening to the radio?
Were they not reading the papers?
Were they reading nothing but the Commentaries
of Rachi?
Had they simply not got it?
Were they really that credulous?
Were they such easy dupes?
Had they forgotten already?
Had there been a shortage of warning signs?
Had they not been forced to sing before?
Obliged to dance and jump for hours?
Made to stand on one foot until exhaustion?
Had the sick not had their blankets taken from them
before?
Had they not been beaten up for saying “Comrade”
to someone?
For going to the hairdresser’s?
For getting their hair straightened?
Had they not been banned from writing letters abroad?
From wearing striped trousers?
From getting married?
From having children?
From covering their dead with a sheet of paper?

NECESSAIRE ET URGENT was presented at the following venues :

- La Colline - théâtre national, Paris, from 12 May to 4th June 2016
- Théâtre Joliette-Minoterie, Marseille, from 21st to 25th April 2015
- Théâtre d’Arles, on 27th March 2015
- Théâtre Garonne/Théâtre Sorano, Toulouse, from 9th to 13th December 2014
- Usine C, Montréal, on 28th and 29th October 2014
- La Bâtie-Festival de Genève, at Salle des Eaux-Vives (ADC), on 1st and 2nd September 2014
- First scratch performance at KLAP Maison pour la danse, in september, as part of actoral.13.

Photo credit: Hervé Bellamy

KOLIK

Rainald Goetz
Created in 2011

KOLIK

Rainald Goetz
Created in 2011

By Rainald Goetz

Direction, scenography and lights : Hubert Colas
With : Thierry Raynaud
Assistant director : Sophie Nardone
Video : Patrick Laffont
Sound : Frédéric Viénot
Traduction from german by Olivier Cadiot and Christine Seghezzi

Production : Diphtong Cie
Coproduction : Comédie de Reims - Centre Dramatique National ; Théâtre Garonne, Toulouse ; Centre Pompidou-Metz ; Théâtre des Salins - Scène Nationale à Martigues
Supported by CENTQUATRE-PARIS, Festival actoral and montévidéo – centre de créations contemporaines


Kolik is the third part of the trilogy Guerre. The first part was dedicated to war in contemporary society, while the second explored conflict within the family circle. Kolik shows an individual reflecting upon himself at the time of his death.

“What else are we expecting from a man.
From this other self that clutters up our inside.
What else pushes us in the brain
What creates the failure of thought
What is this society
Which, from crisis to crisis, produces small muted revolutions
What is it that ties me to you
And tears me away from myself
(…)
Kolik is this insatiable urge
Buried so deep inside the self
That commands us to reveal ourselves
At last and for ever
Beyond any appearances and social constraints
(…)
Kolik is the struggle of the mind against the poisons that haunt our flesh when we face our desires
It is the possible, searing accomplishment of a text that calls for a confession with no religion
(…)
It means using the strength of words to be enraptured by music
An abstract music that teaches us to grasp everything
The ability, regained at last, to accept our ignorance at the foundation for understanding what surrounds us.”
Hubert Colas

« Kolik.

Chambre.

Cri strident. Eclair d’éclair de lumière. Chaise de bureau. Corps masculin en état de décomposition. Odeur de mort. Obscurité. Prestissimo volando. 17 secondes. Chant. Le temps est compté. Littéralement, mot pour mot, je me suis étudié. Et j’ai tout rayé. Sauf moi. »
Rainald Goetz

EXTRACT

Dur
Question dure
Lui question dure
Moi mais pourquoi pourquoi
Lui question dure
Moi (Oh mais) mais pourquoi
Moi pourquoi et lui question dure
Et ainsi de suite et ça dure
Lui tiens tiens une rime
Moi une quoi
Lui une rime moi pourquoi
Lui quoi pourquoi pourquoi
Moi quoi quoi pourquoi
Lui jamais de pourquoi jamais
Moi pourquoi jamais pourquoi
Lui allez encore encore une fois du début
Moi pourquoi encore une fois du début
Lui alors et alors
Moi et alors
Lui et alors question dure question stricte haine
Moi haine pourquoi pourquoi haine
Lui ordre dureté discipline
Moi mais pourquoi
Lui encore jamais de pourquoi quoi pourquoi
Moi mais si pourquoi moi pourquoi encore
Lui parfait
Moi quoi parfait
(...)

Il boit

Pourquoi
Moi pourquoi
Moi toujours pourquoi
Ma question toujours encore pourquoi dureté
Lui encore et toujours pourquoi pourquoi pourquoi pourquoi
Moi ma question toujours encore seulement pourquoi
Lui seulement dureté ordre réponse de haine
Moi réponse pourquoi
Lui réponse haine
Moi pourquoi
Et lui haine
...

PRESS

“The man who is sat at the conference table is arguing with himself. He never stops talking, except when he scoffs down the contents of the glasses in front of him. (…) What are we looking at? The soliloquy of a man who seems to be waking up from a long coma, and who probably wishes he would go back to it. A man who is testing the resistance of words as he rolls them out in thematic lists (music, science, death). This play/performance is nerve-wrecking: you need to focus on the text all the way through to experience its vertiginous effect. The third part of a trilogy written in the 1980s by a Berlin-based playwright who also is holds PhDs in maths and medicine, Kolik describes the obsessive struggle of a mind that attempts to grasp its own functioning. Thierry Raynaud, an incredible actor, utters words that have not yet become thoughts and are more akin to rough material… “J’étais là, moi fait de moi” (“There I was, a self made of self”), he whispers in a loop, unable to explain any more. The audience is left mesmerized, with the strange sensation of floating through an uncertain space and time. Looking back at itself.”
Emmanuelle Bouchez, Télérama.fr, N° 3203

Kolik has been performed at the following venues :

- Humain trop humain - CDN de Montpellier, from 24 to 26 February 2015
- La Friche la Belle de Mai, Marseille, on 19th and 20th February 2015
Booking : 04 95 04 95 95 / Online
- Espaces Pluriels, Pau, 8th April 2014
- Théâtre Garonne - Scène Européenne, Toulouse, 11th and 12th April 2013
- Théâtre de Vanves, during the festival Artdanthé, 19th et 20th March 2013
- Festival delle Colline - Torino (Italy), 15th and 16th June 2012.
- Usine C - Montréal, 21st and 22nd March 2012.
- Printemps des poètes - Québec, 17th March 2012.
- Atheneum, theatre of the University of Bourgogne, 16th February 2012.
- La Comédie de Reims, 09th and 10th December 2011.
- Théâtre National de Marseille - La Criée, 27th September to 01st October 2011.
- La Ménagerie de Verre - Paris, 7th to 18th June 2011.
- Théâtre des Salins, National Stage, Martigues, 8th April 2011.
- Festival VIA - Maubeuge, 30th March to 01st April 2011.
- CREATION at Théâtre du Saulcy - Metz in partnership with Centre Pompidou-Metz, 16th and 17th March 2011.
- http://www.theatrelesateliers-lyon.com/index.php?page=1 - Lyon, 27th May 2010 as part of the 10th issue of the festival “Les Européennes”.

Photo credit : SCJ

12 Sœurs slovaques

Sonia Chiambretto
CREATED IN 2009

12 Sœurs slovaques

Sonia Chiambretto
CREATED IN 2009

By Sonia Chiambretto

Direction and scenography : Hubert Colas
With : Dominique Frot and Nicolas Dick
Lights : Nicolas Marie et Hubert Colas
Video : Patrick Laffont
Sound : Nicolas Dick
Assistant director : Sophie Nardone
Assistant scenographer : Nicolas Marie
Stage manager : Nicolas Marie

Production : Diphtong Cie, in co-production with Le Théâtre de Salins – National Stage, Martigues and with support from montévidéo-centre de créations contemporaines.

Chto Interdit aux moins de 15 followed by Mon Képi blanc and 12 Sœurs slovaques are published by Actes Sud-Papiers.
Theatrical agent : L’Arche Editeur.

Photo credit : Hervé Bellamy

- Created at Théâtre de la Cité Internationale, Paris, 5th to 20th November 2009.

12 soeurs slovaques is the third part of the Chto Trilogy (which includes Chto Interdit aux moins de 15 ans, Mon Képi Blanc and 12 Sœurs slovaques).
"I met Sister Rose in the central convent of her religious order, where she grew up and is still living. She was deported from Czechoslovakia to France at the age of 8. She can’t speak any French. They say that she was part of the “first batch of Czechs”, they talk about “trains of Czech girls”, of escape from “dictatorial regimes”, of a new “child workforce” in France.”
“When I transcribe a testimony, I give my own translation. I write what I hear. I work on the shape of the spoken testimony.”
Sonia Chiambretto

12 SOEURS SLOVAQUES - extract
" 4. OREILLES
Je ne devrais pas faire une montagne d’une petite chose
Il ne faut pas attendre des autres ce qu’ils ne peuvent pas
vous donner
Soeur Monique ma Supérieure une Soeur de la charité est
très bonne qu’
On ne manque de rien qu’
Soeur Monique ma Supérieure une Soeur de la charité nous
gâte pour
• LES FETES
• LES OCCASIONS
• LES ANNIVERSAIRES
Soeur Monique ma Supérieure une Soeur de la charité a bon
coeur Soeur Monique ma Supérieure une Soeur de la charité
ne nous le manifeste pas mais Soeur Monique ma
Supérieure une Soeur de la charité nous aime
J’aimerais un petit peu sentir que j’existe j’ai dans l’idée que
je n’existe pas je n’existe pas flûte !
OH je suis couchée j’ai des vertiges ça me coupe les jambes
Soeur Monique ma Supérieure une Soeur de la charité est
obligée de me les soulever ça va avec l’oreille "

Mon Képi blanc

Sonia Chiambretto
CREATED IN 2007

Mon Képi blanc

Sonia Chiambretto
CREATED IN 2007

By Sonia Chiambretto

Direction and scenography : Hubert Colas
With : Manuel Vallade
Assistant director : Sophie Nardone
Lights : Encaustic - Pascale Bongiovanni et Hubert Colas
Video : Patrick Laffont
Sound : Frédéric Viénot
Technical director and sound engineer : Frédéric Viénot
Lights engineer : Stéphane Salmon

Production: Diphtong Cie
Supported by montévidéo - centre de créations contemporaines

Mon Képi blanc has received a writing grant from the DMDTS / Department of Culture
Mon Képi blanc is the second part of the Chto Trilogie, which follows Chto Interdit aux moins de 15 ans and is followed by 12 Soeurs slovaques, by Sonia Chiambretto, published by Actes Sud-Papiers.

Photo credit : Hervé Bellamy

- Created at Triangle France La Friche La Belle de Mai, Marseille, as part of actOral.6, the international festival for contemporary arts and writing, 2nd to 6th October 2007.

“I grew up in Aubagne, in front of the Foreign Legion. Mon Képi blanc (a reference to the légionnaire’s white hat, or kepi – translator’s note) was composed like a music score from interviews and recordings of conversations with legionnaires from the headquarters of the Foreign Legion in Aubagne. I was particularly interested in the Legion’s music. Its songs bring together men from all around Europe, and tell the story of the colonies. The legionnaires, who come from different countries and speak different languages, speak a made-up common language: a mixed up language, a language that tells us about forgotten times and places, a “foreign” French. This new language’s structure, in its composition and rhythm, is a sound material in its own right, a landscape allowing for a representation of exile, itinerancy, war, separation, loss, but also utopia and beliefs…”
Sonia Chiambretto

“From her long-lived familiarity with soldiers, from encounters and confessions, Sonia Chiambretto has created a text – a long poem – entitled Mon Képi blanc. Not exactly an ode to virility and to the flag: more like a hallucinatory monologue and an internal struggle, impersonated by Manuel Vallade. The staging follows a double constraint: Vallade is filmed from the waist up; his image (face and upper body) appears on a screen, and he stands inside a large cube of red fabric evocative of a catafalque. The actor, directed by Hubert Colas, takes on the totality of the play’s meaning, including a textual typology where the letters ON, as in LegiON, are always written in capitals. Both Sonia Chiambretto’s striking text and Manuel Vallade’s performance are powerful, heartbreaking and musical.”
René Solis, Libération, Friday 5th October 2007

Mon Képi blanc has been performed at the following venues :

- Théâtre de Vanves, Festival Artdanthé, as part of a programme curated by Hubert Colas, from 19th to 21st March 2013.
- Bois de l’Aune, Aix-en-Provence, 14th and 15th December 2012.
- Théâtre Durance in Château-Arnoux, 21st April 2012.
- Théâtre du Saulcy, Metz, in partnership with Centre Pompidou-Metz, 18th March 2011.
- Atheneum, Theatre of the University of Bourgogne, 20th and 21st October 2010, with Thierry Raynaud.
- Carré Sainte-Maxime, Festival Sous le Soleil, 8th October 2010.
- Comédie de Caen, presented with Chto Interdit aux moins de 15 ans, 31st March to 1st April 2010.
- Théâtre Les Ateliers, Lyon, 15th to 18th December 2009, with Thierry Raynaud.
- Lieu Unique, Nantes, 1st to 5th December 2009, presented with the Chto Trilogy, with Thierry Raynaud.
- Théâtre de la Cité internationale, 5th to 20th November 2009 presented with the Chto Trilogy.
- L’Hippodrome, Douai, scène nationale, 20th and 21st October 2009.
- Festival d’Avignon, Chapelle des Pénitents blancs, 24th to 26th July 2009.
- CREATION : Triangle France, La Friche La Belle de Mai, Marseille, as part of actOral.6, the international festival for contemporary arts and writing, 2nd to 6th October 2007.
- montévidéo – centre de créations contemporaines, Marseille, Study 1, scratch performance as part of actOral.4 in 2005.

Face to the wall

Martin Crimp
CREATED IN 2006

Face to the wall

Martin Crimp
CREATED IN 2006

By Martin Crimp

Direction : Hubert Colas
With : Isabelle Mouchard, Thierry
Raynaud, Frédéric Schulz-Richard, Manuel Vallade...
Scenography: Hubert Colas
Assistant Director : Sophie Nardone
Soundscapes : Zidane Boussouf
Light : Pascale Bongiovanni & Hubert Colas
Video : Patrick Laffont

A trilogy including the plays Fewer Emergencies, Face to the Wall (translated from English by Elisabeth Angel-Perez) and Whole Blue Sky (translated from English by Hubert Colas).

Theatrical agent : L’Arche Editeur

Production : Diphtong Cie
Co-production : Théâtre du Gymnase de Marseille ; Festival d’Avignon ; Festival Perspectives de Sarrebruck, Allemagne.
Supported by montévidéo - centre de créations contemporaines

Photo credit : Hervé Bellamy

- Created at Theatre of Gymnase, on 27th february 2006.

Over the last few years, derision champion Martin Crimp has affirmed himself as one of European theatre’s brightest authors. His three short plays Whole Blue Sky, Face to the Wall and Fewer Emergencies are singular projects that take us on an exploration into the meanders of a disturbing urban universe. After working on scrap performances of Face to the Wall and Fewer Emergencies, Hubert Colas commissioned a new text from Martin Crimp, Whole Blue Sky, to form a trilogy.

“It all starts with nothing. Here are some people. They are just here. Are they waiting, or do they know something ? Something they are about to reveal to us, to teach us, because they are there in front of us, although they are not characters. It takes four actors says the author, 1 2 3 4. They come to us with simple yet compelling words. A reflection of the world makes its way to us. The words they are saying, the things they are describing are almost here, right before our eyes, a living memory of the world that surrounds us in Western societies ; a picture of calm, it seems… Until suddenly, very close by or perhaps even in our own home, things start to waver. Amidst all the calm and banality disaster breaks in, striking us or some innocent victim, or someone close.
Images start flowing in. We remember acts committed in public places, in town halls or in schools as in Face to the Wall where fear and violence irrupt in an ordinary classroom, spreading terror. This is happening in our neighbourhoods, in our streets, in our very homes : terror can burst in at any moment.
The title for these three short plays could be “Never Safe”. As we leave the theatre, we are told that while we were sitting comfortably in our armchairs, people a few steps away have been wounded, or perhaps killed.
With levity, humour and a sort of cold violence, these three texts remind us that the comfort that surrounds most of us is causing us to forget about a whole portion of the world.
That part can surge before us at any moment and express its urge to live through any means available. Expressing perhaps, through horror, the hope for a recovered identity. Nothing can justify such acts. But nothing either can justify the way our modern societies are not seeking out new ways of creating more humanity between people.”
Hubert Colas

PRESS

“A surgeon of sarcasm, Crimp opens up wounds and performs strange grafts. (…) Colas has found a perfect scenic equivalent to the frightening fluidity of Crimp’s writing. His sea of balloons is in fact a flow of lava.”
René Solis, Libération

“Hubert Colas has always depicted individuals in the throes of irrepressible violence. His singularity is his knack for portraying the kind of intimate and social savagery that has become commonplace in our compulsive Western world. The three short texts he chose to stage here are just as current in their ferocity.”
Joshka Schidlow, Télérama

EXTRACT

Un aérosol – c’est ça — c’est bien ça — de sang qu’il n’avait pas prévu — il n’avait pas prévu l’aérosol de sang — ni le son — c’est bien ça — ni le son de ces enfants angoissés quand sa tête était sur l’oreiller blanc — sur l’oreiller blanc — ne m’aidez pas — quand sa tête était sur l’oreiller blanc à se représenter la scène — mais maintenant — ne m’aidez pas — mais maintenant c’est clair — et il y a un autre son — c’est quoi cet autre son ? — ne m’aidez pas, ne m’aidez pas — le son de son coeur — non — oui — oui — le son de son coeur — le son de son propre coeur — le son du coeur du tueur qui résonne dans la tête de tueur — c’est ça — c’est bien — qu’il n’avait pas prévu — il n’avait pas prévu le son de son propre coeur dans sa propre tête — remplissait sa tête — son propre coeur remplissant sa tête de sang — qui bat dans ses oreilles — fait battre ses oreilles de sang — comme un nageur — pas nageur — ne m’aidez pas — comme un plongeur — c’est cela — plongeant dans le sang — il est comme un plongeur plongeant dans le sang — c’est ça — c’est bien — très bien — il descend profond — il descend profond loin de la lumière — il plonge dans le sang — qui bat — qui bat dans ses oreilles et qu’est ce que tu regardes comme ça — hein ? — hein ? qu’est ce que tu regardes comme ça ? — retourne
toi — regarde ailleurs — non — retourne— toi — c’est ça — retourne—toi oui c’est toi le prochain — sois sage ou c’est toi le prochain — c’est ça — c’est bien — tu as vu
ce qui est arrivé à l’enfant A, tu as vu ce qui est arrivé à l’enfant B, tu as vu ce qui est arrivé à l’enfant C, tu as vu ce qui est arrivé à l’enfant C — non — oui — non — ne m’aidez pas — Pause. Ne m’aidez pas — (...)

Face to the wall has been performed at the following venues: :

- À l’ Usine C, Montréal (Canada), le Lieu Unique à Nantes
- Espaces Pluriels à Pau, Bonlieu - scène nationale d’Annecy
- Théâtre National de La Colline à Paris
- Théâtre Garonne à Toulouse
- Festival des Jeunes Théâtres d’Omsk, Russie
- Théâtres en Dracénie à Draguignan, Théâtre du Gymnase à Marseille
- Festival Perspectives de Sarrebruck
- Théâtre du Gymnase à Marseille.

Chto Interdit aux moins de 15 ans

Sonia Chiambretto
CREATED IN 2005

Chto Interdit aux moins de 15 ans

Sonia Chiambretto
CREATED IN 2005

By Sonia Chiambretto

Direction and scenography : Hubert Colas
With : Claire Delaporte
Lights : Encaustic - Pascale Bongiovanni et Hubert Colas
Video : Patrick Laffont
Sound : Nicolas Dick
Assistant director : Sophie Nardone 

Assistant scenographer : Nicolas Marie
Set : Olivier Achez and Relax Factory

Production : Diphtong Cie
Co-production : Théâtre National de Marseille - La Criée ; Théâtre des Salins – National Stage, Martigues.
Supported by montévidéo - centre de créations contemporaines

The text of the play has been published by Actes Sud-Papiers. Sonia Chiambretto is represented by l’Arche.

Chto Interdit aux moins de 15 ans is the first part of Chto Trilogie (which includes the plays : Chto Interdit aux moins de 15 ans, Mon Képi Blanc and 12 Sœurs slovaques).

Photo credit : Patrick Laffont

- Created at Les Correspondances de Manosque, 23rd September 2005, as part of the festival actOral.4

“The story started with the poetical description of a war scene in Agamemnon, a text I read to a young Chechen girl I had met in Marseille in a French language school. She had arrived in Europe from Chechnya. She was 18 and escaping from the war. I asked her to talk about her trip, I recorded her story.

Experiences of the language: 1 She tells about her trip in the language of her host country, France. She still can’t speak this language very well. 2 A few months later she tells me the same story again (her trip). She can speak her new language a bit better. How does language evolve and influence memory? 3 She tells me the same story in her own language (Chechen). When she talks in the microphone she knows I can’t understand her. How far can the testimony go?”
Sonia Chiambretto about Chto Interdit aux moins de 15 ans

"Quand nous arrivons à Saint Pétersbourg 
ma mère avec grand-mère, ma soeur, ma nièce et moi Sveta, nous sommes prises par la police
Les militaires
 comme ça
 sur le quai
Ils ont pris ma mère avec grand-mère, ma soeur, ma nièce et moi Sveta
Ils [la police Russe] ont dit : 
Rah vous êtes tchétchènes 
Venez avec nous
 On fait une vérification 
On regarde votre papier 
Qui êtes-vous
Comme ça
Il y a un froid-là
 Il y a beaucoup de neige nos jambes s’enfoncent jusqu’aux genoux 
Ils nous font rentrer 
Nous sommes tous rentrés 
Ma mère grand-mère ma soeur ma nièce moi Sveta la police Russe
 comme ça
Ils ont dit [les policiers R] : 
Oh
 Pourquoi tu ne me regardes pas 
Quoi
 Tu as vu un fantôme ou quoi
 Quoi

Ils ont bu 
Ils ont fumé
 Ils sont comme fous 
comme ça"
Extract from Chto Interdit aux moins de 15 ans

Chto Interdit au moins de 15 ans has been performed at the following venues :

- La Passerelle - National Stage,Gap
- Comédie de Caen
- Le Lieu Unique, Nantes
- Théâtre de la Cité internationale
- Festival Contre-Courant
- Théâtre National de Marseille - La Criée
- Les Correspondances de Manosque

Diphtong Cie - Hubert Colas - 3, impasse Montévidéo 13006 Marseille - Phone. 04 91 04 68 41 - info@diphtong.comcredits