Hiroshima mon amour

After Hiroshima mon amour by Marguerite Duras A Julien Bouffier’s creation

théâtre de Grammont October, 13 to 24 octobre 09

Tuesday, october 13, 19h Wednesday, october 14, 19h Thursday, october 15, 19h Friday, october 16, 20h45 Saturday, october 17, 20h45 Sunday, october 18 closure Monday, october 19 octobre closure Tuesday, october 20, 19h Wednesday, october 21, 19h Thursday, october 22, 19h Friday, october 23, 20h45 Saturday, october 24, 20h45

Booking office

hall de l’Opéra Comédie +334 67 99 25 00

théâtre Jean Vilar,Vitry/Seine

Staring

Vanessa Liautey



Ramzi Choukair



Dimoné

Stage design

Emmanuelle Debeusscher and JB

Video creation

Laurent Rojol and JB

Light design

Christophe Mazet



Music

Dimoné

Costumes

Marie Delphin

Choreography

Hélène Cathala

Sound surrounding

Eric Guennou

Photos

Marc Ginot

production coproduction

Adesso e sempre company Théâtre des Treize Vents

January, 29 to 31 janvier 10 Friday, january 29, 21h Saturday, january 30, 21h Sunday, january 31, 16h

lasting 1 hour and 15 minutes (approx.)

With the creation help of the Languedoc-Roussillon region and the support of the French Institute of Barcelona. This show was created during the residence of the company Adesso e sempre at the Théâtre des Treize Vents, national theatre of Languedoc-Roussilon

www.hiroshimamonamour.over-blog.net

Marguerite Duras

author of the original work film maker, writer, screen writer, performer, composer, adaptater, producer Born in 1914 in Gia Dinh (Vietnam) and deceased in 1996 in Paris For Marguerite Duras, writing for the cinema is very close to writing for literature: after the adaptation for the screen of some of her novels by film makers such as René Clément (Barrage contre le Pacifique, 1956) or Peter Brook (Moderato Cantabile, 1960), Marguerite Duras wrote Hiroshima mon amour for the film by Alain Resnais. In her work, the borders between novel, theatre and cinema are open. In 1966, she co-directed an adapation of her play La Musica with Paul Seban then, three years later, she directed Détruire on her own, she said. In 1972, Nathalie Granger triggered off the inverted process: the film preceded the novel. Marguerite Duras took over the cinema, invented the rules rather than obeying them. The cinema provided empty spaces and texts came and inhabited them, literally speaking: in Nathalie Granger, the actresses Lucia Bose and Jeanne Moreau hardly ever speak and when they do, you hear their words as a dubbed sound, severed from the actresses’ body. From India Song (1974), the speeches took over the pictures: the texts told in voice-off on a Carlos d’Alessio’s music accompany the pictures. Marguerite Duras used that sound tape for other films in which the audience had to link the speeches about mad loves and incests evoked in voice-off with the palace in ruins of Son nom de Venise in Calcutta désert (1976) or the Trouville beaches in Agatha et les lectures illimitées (1981). Le Camion (1977), in which Marguerite Duras exposed herself the most as an author as well as a character, is a film on conditions: her and Gérard Depardieu talk about a film that might be made and then again the spectator must make the intellectual effort of turning the film into reality. She reached the ultimate limits of cinema with L’homme atlantique (1981) in which the black screens give all the spaces to the text. As experimental as it is, Marguerite Duras’s cinema never leaves the shores of speech. She proved it again in 1984 with a social and popular comedy, Les enfants. Marguerite Duras remains the paragon of a radical cinema as the violent controversy about Jean-Jacques Annaud’s film, L’amant (1991) proved it. Marguerite Duras did not validate that adaptation and wrote her own film, L’amant de la Chine du nord. Marguerite Duras, novelist, wrote among others Barrage contre le Pacifique, Moderato Cantabile, L’amour (1972), Savannah Bay (1983) and L’amant (1984) for which she won the Goncourt prize.

1959. Hiroshima. A French actress who is shooting a film about peace and a Japanese man meet and love. Each one has his own past. For him it’s Hiroshima and the annihilation of the atomic bomb. For her, it’s Nevers and her youth love for a German soldier who was killed at the Liberation.

www.hiroshimamonamour.over-blog.net

Julien Bouffier Director

Julien Bouffier has been running the company Adesso e Sempre since its creation in 1991 in Languedoc-Roussillon. Performer and director, he was trained by Jean-michel Winling, Philippe Girard, Redjep Mitrivitsa and Yves Steinmetz. Since 1991, he directed Durringer’s Angèle Box, Squatt by Jean-Pierre Milovanoff, Claude Lucas’s Suerte, Narcisse Autobiographie(ordered to Bernard Pingaud, Joseph Danan, JeanMarc Lanteri) Victor Hugo’s Hernani, La nuit je mens inspired by the work of Sophie Calle, Le début de l’A. By Pascal Rambert, Nos Nuits Américaines a work in two parts about the desillusion of the American dream (first part l’Echange by Camille Claudel, second part Remember the Misfits), Perlino Comment by Fabrice Melquiot and Dominique Féret’s Les Yeux Rouges. Out of the theatre stages, he created performances (Voices by J.Y. Picq, Ma chambre d’incertitude...), shot video objects (Vraiment, la Sékence du Spektateur...), worked on his art in companies (projet Mémoire/ public EDF-GDF...) In 1997 he dedicated himself to Suerte by Claude Lucas and won the young creation prize at the last Alès Festival.This « peep-show » stood him out of the Languedoc-Roussillon region.The French state then aknowledged his work and signed a convention with the company which was taken in by the Scène Nationale de Sète until 2004. In 2002 he created an association of companies, Changement de Propriétaire (CDP), together with three other companies: La Camionetta, Patrice Barthes Company (dance) and Anabase (theatre).They took over an industrial place in Montpellier. Since September 2006 and for three years, he and his company have been in residence in theThéâtre desTreizeVents, the Centre Dramatique National (CDN) of Montpellier-Languedoc-Roussillon. In Autumn 2007, he created the first part of LesVivants et les Morts by Gérard Mordillat at the CDN (Season 1). In Autumn 2008 he created the second part of LesVivants et les Morts by Gérard Mordillat at the CDN (season 2). In March and April 2009, he created the first edition of the HYBRIDES festival in Montpellier together with the Théâtre des TreizeVents, CDN of Montpellier, the Chartreuse in Villeneuve-lès-Avignon, Kawenga, the Theatre of the Paul Valéry University, the Trioletto/CROUS of Montpellier, the Superior School of Drama of Montpellier city, the Languedoc-Roussillin frac, the Rockstore, the Diagonal, the Chapelle, the Montpellier Fnac store. Hybrides aims at touring trans disciplinarian shows.The second edition of the festival, Hybrides2 will take place from the 27th of March to the 2nd of April 2010.

Each of Julien Bouffier’s show answers the preceding, seeks a research about form or deals with the same topics. These last four years, he followed the thread of our relation to work considering it one of the main stakes of our society. Now, he is starting a new cycle of artistic research over the question of identity: taking roots in a territory, questioning about our need to be rooted. These so-called origins that one claims like a flag or a shield towards other people so as to identify oneself or be reassured. For many people, belonging to a group, to a community helps finding their way, going forward. And yet, learning and experimenting is what defines us as human beings. This quest opens a field of memory that disturbs our feeling of routine: the question of History and our geopolitical positions from Marguerite Duras’s Hiroshima mon amour.

« - Et pourquoi voulais-tu tout voir à Hiroshima ? - Ça m’intéressait. J’ai mon idée là-dessus.

Par exemple, tu vois, de bien regarder, je crois que ça s’apprend. »

www.hiroshimamonamour.over-blog.net

Jean-Claude Fall

A show is a trip

Montpellier, March the 19th 2009, Jean-Claude, You know how hard it was to swap to something else after Les Vivants et les Morts. It took some time but today HMA (our code name for our next creation Marguerite Duras’s Hiroshima mon amour) turns out to be a promising adventure full of encounters. Before creating it at the Theâtre des Treize Vents, I wanted this project to be built abroad, to be nurtured by some different places. It is what we will do first in Barcelona where Pierre Reynaud, head of the French Institute, invited us for two weeks, then in Japan from the 3rd to the 16th of August. In Montpellier, the rehearsals won’t start before the 31st of August. Until then, Ramzi Choukhair, the Japanese, will be absent. Working abroad represented an opportunity to meet not also a territory but also and mainly the people who live on it.Thus we offered some Catalan comedians to join us for 36 hours (the approximate time of the encounter between the French woman and the Japanese man in Hiroshima) so they could perform as the Japanese in their own way. Is it possible to meet like that when you have so little time? To work together? To exchange? Does this story evoke any personal memories, any collective memories? How is Ramzi supposed to take part in the project when he is at home in Syria? We will share ideas with him through the Hiroshima mon amour logbook Internet page. Barcelona will also be the time of songs. During this residence, Dimoné (our musician) will have to compose melodies on the excerpts that we picked from Duras’s text. Our stage designer will improve the work on space which, for once, hasn’t been chosen before the beginning of the rehearsals.The only thing that is settled is that it will be played in a space with two fronts so we can differ from any cinematographic relation to illusion and thus we shall confirm the role of the theater audience conscious of their condition. At the same time, this two-faced presentation will enable a greatest closeness with the actors. I didn’t think I would need to go to Japan to build HMA. I was not interested in Hiroshima in the play but a territory that was the paragon of inhumanity. I even wished to re-contextualize the play somewhere else.Then I was slowly caught!! First, this autobiographic comic book about Hiroshima, GEN, forced me to know more. But what does “know more” mean if it isn’t go there and feel! We then decided to go to Hiroshima at the moment of the commemoration of the 6th of August bombing.We’ll stay there for a week so as to walk in Resnais and all the staff’s tracks because what drove me to create this project obviously was the double support (book/film). Going back to Hiroshima is like investigating on the documentary approach that nurtured Resnais’s project, it is like re-making the film, nowadays, fifty years later. Adesso e sempre, Julien Bouffier

As a place for a love encounter, Duras chose Hiroshima, one of the most representative of inhumanity. How to allow these strangers/lovers to move (she is French, he is Japanese) in the remains of a civilization that was annihilated by the atomic bomb. Who and what do we fall in love with, taken as we are in the twists and turns of our occidental consciousness considering this situation that we cannot not feel responsible for? I wanted to de-contextualize the text and I imagined a legendary Hiroshima that would stand for the ground of guilt and thus embrace modern History. Many territories are pregnant with these wounds caused by human beings. Nowadays they are less spectacular and less dramatic than a nuclear bomb but these conflicts go on destroying civilizations, human values. And even though I don’t wish to compare an atomic explosion with these multiple conflicts linked to international stakes that go beyond the populations involved, should we remain silent and go on our way? Our Hiroshima will be the sum of all these mourning territories. It will be a theater stage open to the winds of reality, rich with all these memories. We are going to travel the world listening to each one in order to construct this new Hiroshima.

Julien Bouffier

www.hiroshimamonamour.over-blog.net

The other

Gérard, Who would be today’s Duras’s “Japanese man”? Who would be that former enemy, that stranger from the other end of the world? Would he be the same person whoever we are? In our globalised society, who is our foreigner? We are building this project step by step, in France and abroad. With a light team (an actress, a video maker, a technician), we will go to Japan and Spain, looking for this “Stranger”, our “Japanese” to try and define our vision on him. One territory, one actor. The “Stranger” will be Syrian in Montpellier and Vitry sur Seine, he will be Spanish in Barcelona. We will recreate the show with a new actor in each stage of the trip, we will have been enriched by the preceding shows of course, but we also hope to start all over again as in a new love story. Is every love story a new story or is it the re-beginning of the former? Do we really meet the other or do we only project our desires on him? The quest for the Other stands for one of the most important problem our modern humanism has to face. How is the individual adventure (love being its best example) involved in the collective, historic and social adventure? To what degree does other people’s unhappiness disturb (must it disturb) our individual happiness? To what degree must individual happiness pay attention to collective unhappiness? I know that you are well acquainted with the Syrian artistic ground, can you think of any actor? Sincerely, Julien

Re : The other

Dear friend, I’m thinking of that actor and director, Ramzi Choukhair whose two shows, Hamlet and Zin Salem and L’assemblée des femmes, were performed here. See you very soon, Gérard

www.hiroshimamonamour.over-blog.net

The skin

Vanessa, What could I offer you after Mordillat’s wonderful Dallas? I believe that you are up to this actress character in HMA, she is a mix of Dallas, of Kate in Rambert’s Le Début de l’A and of you in “La nuit je mens”. I’m talking about these two joint shows because HMA in a way is the third part of these love stories. Except that this one is deeply political. This actress is double: she is incarnated, I mean physically involved, and a witness. Riva used to take pictures during the shooting of the film, I would like you to do the same thing and for you to be the inside and outside look on this creation. Duras invites us to a carnal encounter as opposed to mental. Bodies and skins embrace, touch, stroke each other and burn. When the Woman loves the German, she forgets about the uniform, the war, the antagonisms. It is a story of skins within reality, within other bodies. Meeting the other is accepting a strange body, also locked into his “skin bag”. How to show each of them locked into their “skin bag”? The film also stands for a skin on which pictures are printed. A skin that is open to the audience’s looks, a skin in which we mentally enter. Laid flat on a theater stage, that skin is a distance between us, the audience and them, the subjects. How to transcribe that “primitive skin” of the cinema? The stage management will formally translate Duras’s textual matter (that she wrote for the cinema) for the character of ELLE will confront her reality as an actress and her reality as a woman.The two characters are surrounded by the audience, settled on both sides of the stage. Of course, this double-faced process is opposed to the one that the audience is used to in cinema.They won’t give up to illusion as they can see the other part of the audience facing them. In this way, the importance of the view carried by the others is increased. Adesso e Sempre, Julien

Read in Duras's “La vie matérielle”...

18/07 seen Eonnagata at the National Theatre of Catalunya 19/07 meeting with Pau Bachero, Catalan actor (canceled) 20/07 meeting with Pau Bachero and Pep Planas, Catalan actors Seen Resnais’s Hiroshima mon amour again 21/07 seen the Capa/Taro exhibition, met Joffre Carben (actor) 22/07 shooting/ work with Pau Seen H story again

www.hiroshimamonamour.over-blog.net

Lyri(c)s?

Dimoné, In the stage directions, Duras wrote that the Woman’s text at the beginning of the first part is said in a dull and recitative voice. In Resnais’s film it feels like a prayer. Instead of negating the musicality of the writing, Emmanuelle Riva (the performer in the film) raised the text to a kind of song and still follows Duras’s instructions. I would like to carry on that formal work on language with you on the project.You will be the time referent for the audience (you will be the only one in the audience’s present) and you will accompany the Woman in her movement towards memory.Your permanent presence on stage won’t be part of the setting but really a driving force for the action.You will musically support the Woman’s trip but you will also directly be in charge of some of the Man’s text. Some passages, like the first part, will welcome some songs. Adesso e Sempre, Julien

As the Theremin* not only reacts when it is touched but also when there is a body presence, its use seemed obvious to me as far as Hiroshima mon amour is concerned. It evokes to me the radioactivity of Japan after the bomb. As it acts like a sonar, it stands for encounter, approach, fascination, intuition, attractiveness, repulsion, love, the feelings that we perceive and emit. It also conveys the idea of loss. The bearings generated by memories in our life as individuals, that in the depth of our intimacy remain a mystery of inaccessible loneliness when we face the encounter of the stranger that everyone is to the others. Our peculiar stories beam and nurture our relationships and the sound of Theremin carries both a spectral and magical feeling. We are the cave dwelling insects of our brilliant desires and the Theremin could be their sonorous signifier. Dimoné

* “ The Theremin is one of the oldest electronic music instrument. It was invented in 1919 by the Russian Lev Sergeïevitch Termen (known as Leon Theremin). It is composed of an electronic box with two aerials. It has the particularity of producing music without any physical contact from the player. It its most famous version, you control the highness of the note with you right hand as you change its distance to the vertical aerial. The horizontal aerial is curl-shaped and is used to vary the volume according to its distance to the left hand. The sound of the Theremin is close enough to this of human voice or of a musical saw.” www.hiroshimamonamour.over-blog.net

Anonymous Time

Time is a character of Hiroshima mon amour. A woman is stranded between the Present and the Past. The woman’s Present will be confirmed as ours. She would have already come back from Hiroshima. She comes in order to share what she saw. She is shown to us as the witness, the pacific spokeswoman. And yet, very soon, her intimate background unveils the fact that the Present does not learn from the Past. The Present consumes the Past and oblivion allows a new beginning. Time in love stands for the death of love. Love is oblivion. Oblivion of the others, up to a scandalous point. Besides love is the oblivion of love for a new love can only be born from the oblivion of another love. When she goes to Hiroshima, the Woman recalls of the Past, she confuses times and loves. In front of us, the Woman recreates the illusion of theater when she turns the Japanese man into her former German lover. The Japanese becomes the actor of a story that he does not know but that changes his perception of the situation he is going through. Like the audience, he identifies with someone else’s destiny and becomes anonymous. But isn’t anonymity the first danger for today’s individuals? Thanks to all the cinematic work that we have been able to do during our trips, we will try and characterize the Present, and turn it into a documentary. Thus, the lovers’ story will unfurl along the background of the History of Mankind.

www.hiroshimamouamour.over-blog.net www.hiroshimamonamour.over-blog.net

Ramzi Choukair

Vanessa Liautey

Ramzi Choukair was born on the 12th of June 1971 in Beirut, Lebanon. He is Franco-Syrian. After studying at the Superior Institute of Drama in Damas(1990-1994), he studied stage management at the Superior Institute of performing arts of Avignon(1995-1996). In 1999, he got a master 1 in performing arts at the university of Paris VIII then a master 2 in performing arts in 2001. Along with his studied, he led his career in Syria (National Theater, Theater of the Superior Institute of Drama) and in France (Avignon Festival, Opera Festival of Aix en Provence...). He played in several films for the cinema or television in Syria. In the theater, he played in André Serres’s Roméo and Juliet in Alep and Damas in 1992 (as Paris), Les Epines by Françoise Sagan directed by Manuel Gigi SID of Damas in 1993. In 1994, he continued his career with Tchekhov’s La Mouette (as Chamraèv) directed by Tatiana Arkhabitsova at the Oumaali Theater of Damas, Arlequin and his two masters by Goldoni (as Silvio) directed by Jamal Soleiman at tha Damas SID, A Thousand and One Nights directed by Rias Osmat at tha National Theater of Damas. In 1996, he plays as Roberto Zucco in Koltès’s play directed by Catherine Marnas (end of the TSTS) at the Chapelle Theater of Avignon. In 1998, he played in Harold Parker’s The Possibilities directed by Talal Nasser Aldin at the National Theater of Damas and in the show put on after the Gilgamesh epic, Gilgamesh, directed by Pascal Rambert in the Damas Citadel then at the Avignon Festival in 2000. In 2002 and 2003 he created Al-Zir Salem and Prince Hamlet adapted from two texts, an eastern text (Al-Zir Salem) and an western text (Hamlet) at the Al-Azem Palace of Damas in Arabic. This was his first work as a director. In 2003 and 2004 he was the technical and artistic manager of the National Opera of Damas, Syria. In 2004, he played Les diplomates directed by Ghassan Massaoud at the Damas opera house. Since then, he has directed Hamlet and Zir Salem at the Damas opera house and at the Jean Vilar Theater of Vitry-sur-Seine, Shitra the King’s Daughter at the Damas opera house, L’Assemblée des Femmes at the national theater Al Hamra, Damas and the project of the Superior Institute of Drama at the National Theater Al Hamra and the Jean Vilar theater of Vitry-sur-Seine. In 2007 and 2008 he was the technical manager of Damas 2008, Arabic Capital of Culture, technical manager of Andromache directed by Jean-Christophe Saïs at the Rametta Theater of Damas, the Nuits de Fourvière Festival (Lyon), Hellenic Festival (Athens), Greek Festival of Barcelona (Barcelona), Carthage Festival (Carthage).

She attended a theater course at the Claude Mathieu School from 1993 to 1998 .Then she took singing and clown courses and did a research training course with Bernard Guittet, Hélène Cathala, Pascal Rambert. In the theater field, she has been playing in Julien Bouffier’s creations from 1999 to 2009: Les Vivants et les Morts (season 1 and 2) by Gérard Mordillat, Perlino Comment by Fabrice Melquiot, Ma Chambre d’Incertitude, Remember the Misfits, L’Echange by Paul Claudel, Pascal Rambert’s Les Débuts de l’A, La nuit je mens, Victor Hugo’s Hernani. She also played for the ACT company in 75012 Bombay, a collective creation, and in Cette trace de vie dans la mienne, conceived by Charlotte Andres and Vanessa Liautey, directed by Natalie Rafal, and in Au panier created by Christophe Laluque, J’espérons que je m’en sortiras by M. D’Orta created by marjorie Nakache.

actor-director

Actress

She directed Chroniques des jours entiers des nuits entières by Xavier Durringer. She sang and performed on Dimoné’s album and video clip Les débuts de l’A.

Dominique Terrieu aka Dimoné musician (guitar), singer, composer

After performing with different bands from Montpellier in the 90s, Dimoné released his first solo album, Effet Pervers, in 1999. In January 2002 Julien Bouffier, director of the Adesso e Sempre company and then associated with the national theater of Sète, asked him to turn into songs some texts from Pascal Rambert’s play Le début de l’A. Dimoné performed them on stage. In April 2004, his second album, Je n’ai pas sommeil, is released. In 2005, Jean-Christophe Sirven and him created the music and performed in Fabrice Melquiot’s play Perlino Comment directed by Julien Bouffier. In 2006, the singer Cali took him as a guest in the first part of his concert at La Cigale in Paris, at the Zénith of Montpellier and at the Rhône theater of Bourg-lès-Valence. In July 2006, Dimoné took part in the Nous n’irons pas à Avignon (We won’t go to Avignon) festival that takes place each year in Vitry sur Seine at Gare au theâtre. In February 2007, he toured in Mauritania for five concerts. In January 2008, he created the music and the songs for Bertold Brecht’s play De la séduction des Anges directed by Hélène Soulié from the EXIT company. In August 2008, he created a concert in which he sang Léo Ferré’s songs at the festival La clé des chants in Montpellier in the Cour des Ursulines. He performed as a guest in the concerts of several artists such as Vincent Delerm, Alexandre Varlet, Jipé Nataf, Daniel Darc,Tété, Aston Villa, Les Acrobates, Cali, François Hadji-Lazaro, Alexis HK and Fred. His new album Madame Blanche was released on the 30th of January 2009. He took part in a great number of radio and television shows (France Inter, RTL, France 2 and France 4).

Laurent Rojol

Emmanuelle Debeusscher

pictures creator

Stage designer

From his teenage, Laurent Rojol grew a passion for moving pictures

Emmanuelle Debeusscher was born in 1972 and is a founding member of the company Adesso e Sempre. She has imagined and made

and visual effects. For several years, he practiced frantically and in a

nearly all the settings of Julien Bouffier’s creations.

rather eclectic way, first in super 8 then in video.

The setting of Hiroshima mon amour by Marguerite Duras was built thanks to the help of the construction studio of the Centre Drama-

Then came a time of « the discovery of reality »when, between diffe-

tique National Theâtre des Treize Vents like the settings of Les Vivants et les Morts after Gérard Mordillat’s novel in 2007/2008, Squatt

rent and temporary professional occupations, he went on long trips

by Jean-Pierre Milovanoff in 1996 and Suerte y Claude Lucas in 1997.

in particular in Asia and the Middle-East growing fond of peoples,

She performed as an actress for the occasion of Angèle Box by Xavier Durringer in 1994 and Perlino Comment by Fabrice Melquiot in

history, architecture...in other words, the World!

2005.

After that he got formed and worked in communication and multi-

As a stage designer and builder, she works with other directors such as Marc Baylet, Hélène Cathala et Fabrice Ramalingom, Lonely Cir-

media for three years which enabled him to master the subtleness

cus, Frédéric Borie, Christophe Laluque. She is also the assistant of Gillone Brun and Julien Bureau, Jean-Marc Bourg’s stage designers.

of interactivity and the Internet and to meet graphic designers and

She worked with Yann Lheureux, Claire le Michel, Florence Saul, Fabrice Andrivon.

learn from them. In 2001, he finally went back to his first love of theater when he met the director, Julien Bouffier. Within the company Adesso e Sempre, he created the videos for all the shows (Les Débuts de l’A, L’Echange, Remember the Misfits, Perlino Comment, Forget Marilyn, Les Yeux Rouges, Les Vivants et les Morts). He also works with other directors (Jean-Claude Fall for the creations of King Lear and Richard III, Guy Delamotte for l’Affiche, Claire Engel for Vivre...), choreographers (Hélène Cathala, Fabrice Ramalingom), musicians (Dimoné, J-C Sirven...).

Eric Guennou Musician, composer

Eric Guennou won the Gold Medal of the Montpellier and Saint-Denis Conservatoires and has a degree of musicology at the university of Montpellier.After a classical music background with, among others, the musical Master of Moscou-Montpellier, Jacqueline Abécassis (winner of the royal Conservatoire of Brussels), he dedicated himself to the practice of improvised musics (Zimpro, Jam/Montpellier orchestra...) and joins the Soria Moria project that areWorld Latino musical creations by the singer and composer Sebastian Salamone (Album « Letras » 2007).

In 2009, he took part in the creation of Parole Perdue by Jean-

In 1998, he met the director Marc Baylet and joined in the ANABASE collective of theatre. He has been in charge of the musical crea-

Claude Fall and in the future creations of Guy Delamotte and Vero

tion, the design of the sound space on stage and the sound production. Since then, he has taken part in about twenty creations with

Duhanon for the Panta Theatre of Caen.

Marc Baylet (Anabase), Julien Bouffier (Adesso e Sempre), Vanessa Liautey (Ananas Compasus Théâtre), Flavio Polizzi (Cie Amadée), Jean-Marc Bourg (Cie Labyrinthes), Claire Engel (Chagall sans M), Hélène Cathala (Hors Commerce), Alain Chambon, Benoît Schwartz...

www.hiroshimamonamour.over-blog.net

Hélène Cathala

Christophe Mazet

Hélène Cathala trained in Montpellier as a classic and modern dancer. In-

A 34-year-old light designer, he was a teacher within the formation of show-related jobs at the Jean Monnet High school from 2002 to 2006.

volved in Bagouet’s company in 1989, she took part in the last five creations

From 1996, he took part in many national and international tours and in different light creations with music bands such as Rinôcèrôse, Dimoné,

of the choreographer. In 1992, she performed in One story as in falling by

Enzo Enzo and with 30 different bands.

Trisha Brown. In 1993, she and Fabrice Ramalingom founded their own

For the theater, he worked with the Zinc Théâtre, Adesso e Sempre, In Situ companies...and he designed the lights in the occasional creations

company, La Camionetta, which became a crossroads of research succes-

of Château de Castries, Valmagne Abbey and he did the lighting for numerous exhibition galleries and public places.

sively linked to the theaters of Nîmes then Sète. There, she created about

He designed the light of Mathilde Monnier’s dance show, Rino in dance at the Montpellier Zénith.

fifteen shows that toured national stages, international festivals, (Aix-en-

Some important dates: light design of the closing-down night before the restoration of the Odéon theater in Paris, of the VIP night at the festival

Provence, Avignon, Biennale of the Val de Marne, Internationals Encoun-

of video clips and arts (Agde), of the Napoule castle for the English magazine Dazed and Confused during the Cannes film festival in 2001, 2003

ters of Seine Saint-Denis, Montpellier...) and abroad (Italy, Morocco, Tunisia,

and 2005, light design for Ma Planète Verte (My green planet) in the amphitheater of Nîmes in 2008, for the Electro Faenas Digitales festival

Ukraine, Bolivia, Cameroon...).

in Béziers since 2004 (Béziers amphitheater).

choreographer

light designer

Hélène Cathala enriches the influences of her formation with the mix of different corporal practices (Alexander, Feldenkrais, improvisation). She taught in several academies (Paris, Lyons, Montpellier- Languedoc Roussillon, run by Mathilde Monnier. In 2003, the Camionetta company gets conventionalized by the French Ministry of Culture. In 2006, Hélène Cathala founded a new company, Hors Commerce, that develops a research where the stage creation relies on the quest for movement as well as on texts and pictures. She created the play Slogans. In 2007, she imagined Savane, a play for young audience, at the National Stage of Sète and of the Bassin de Thau and a solo called Shagga at the Val de Marne Biennale and at the Avignon festival of 2008. She created Exode 1.25 at the Uzès Dance Festival and at Montpellier Dance 2008. In 2009, The Hors Commerce company gets conventionalized by the French Ministry of Culture.

Marie Delphin wardrobe mistress

After a brief passage in the “prêt-a-porter” world, Marie Delphin attended different training periods in history of art, drawing and sewing courses adapted to show costumes. From 1992 to 1999, she taught in different studios of costumes creation, cutting, sewing and patina as a periodic wardrobe mistress at the Opera Comédie of Montpellier, at the Theâtre des Treize Vents, at the Besançon opera house, at the Saint-Etienne house of culture... Along her periodic activity, she founded a society of costumes renting and making called “les manteaux d’Arlequin” and specialized in antique and occasional costumes. Since 1999, she has been the permanent head of the costume studio at the Theâtre des Treize Vents. She made the costumes of Jean-Claude Fall’s last creations: Parle-moi comme la pluie, Fin de partie, Le grand parler, Ullyssindbad, Les trois soeurs, La décision/Mauser, Dors mon petit enfant, Péchés Mortels, Blancs, Histoires de Famille, Famille d’artistes, Jean la chance, King Lear, Richard III as well as the costumes for C’est dans ta tête directed by Cécile Marmouget, Les vivants et les morts season 1 and 2 directed by Julien Bouffier. She also works for the Opéra Comédie (L’enfant et les sortilèges, Attila, Alcina, Antigona) and for the regional companies Eclat de () and L’heure où l’on ne savait rien, choreographed by Lila Greene, Les 5 doigts de la main and Comédies Enfantines by the Labyrinthes company, Biedermann et les incendiaires by the Juin 88 company.

Contacts Fatiha Schlicht [email protected] Tél. +336 08 01 43 81 / +334 67 99 25 07

www.hiroshimamonamour.over-blog.net

Le Théâtre des Treize Vents CDN de Montpellier Languedoc-Roussillon est subventionné par le Ministère de la Culture, la Région Languedoc-Roussillon, le Département de l'Hérault, Montpellier Agglomération. Licence d'entrepreneurs de spectacles : 1-1011049, 2-1011050, 3-1011051

La compagnie Adesso e Sempre est en résidence au Théâtre des Treize Vents, depuis septembre 2006. La Compagnie est subventionnée par le Ministère de la Culture / DRAC Languedoc-Roussillon au titre des compagnies conventionnées, la Région Languedoc-Roussillon, la Ville de Montpellier. Compagnie Adesso e Sempre - Théâtre des Treize Vents, Domaine de Grammont – CS 69060 - 34965 Montpellier Cedex 2 Pour en savoir plus : www.adessoesempre.com/vetm.htm Licence d’entrepreneurs de spectacles : 2-1006332, 3-1023591