nine worthies

PANTHEATRE 2009 Myth & Theatre Festival
NINE WORTHIES
A work in progress presentation – following the work initiated in
June 2008 and presented during 2008 Myth & Theatre
Festival.
A project initiated and devised by Aurelia Hannagan.
Direction and scenography : Enrique Pardo
With :
Aurélie Balay
Aurélia Hannagan
Agnès Tuvache
Music ‘in progress’ to be composed by Izidor Leitinger
Outlined and improvised tonight by : Enrique Pardo
Puppets : Aurelia Hannagan
Special thanks to Liza, Nicole…
(ABSTRACT)
The Giantess. A text by Nathalie Papin.
A woman invites you to see what we are unable to name and
least of all look at. But images travel towards us and we will
have one day to accept the invitation.
You are invited to follow the Giantess who will carry your
heavy burden.
The Death Woman presented by Nathalie Papin is the first
figure of a series of contemporary portraits assembled together
as “The Nine Worthy Women”
The High Priestess. A text by Jean Yves Picq.
History or myth? Pope Joan is known to have been the only
woman at the head of the Catholic church, in 854 AD.
Unaware of her pregnancy she gave birth during a procession
in Rome; she and her baby were stoned to death and all
records of her existence were destroyed. This worthy woman
wants us to remember her name, her loving reign. Her cries
emerge from a long lost past, they will not be silenced.
Merteuil, from Heiner Muller’s play “Quartett”.
Merteuil and Valmont from “Dangerous Liaisons” are still
confronting each other in Heiner Muller’s play, or rather
confronting their characters with unequivocal violence and
perversity. In the opening scene, Merteuil dissects her “use” of
Valmont: qualified as a good lover, the man is standing pityfull,
weakened by women, Merteuil will enjoy giving him a “coup de
grace” and lash his figure with wit and savagery, only to
expose her fantasy. She is indeed alone, masturbating. No
libertine has ever expressed such intelligence, we thank
Heiner Muller, and of course, Choderlos de Laclos, for this
worthy woman.
The Nine Worthy Women.
Towards the end of the middle ages in France, men brought
back to life the figures of Nine Worthies to incarnate the virtues
of chivalry declining as furtive attacks and sacks were more
widely carried out. They were then able to revamp yearly
rituals and stage honourable welcoming parties to
distinguished guests. This is a good example of how heroes
were for men indispensable in establishing community
bonding. Then, a few decades later, literature and iconography
saw the ladies entering the scene. Whether through
melancholy, or in order to step into modernity (?), Nine Worthy
Women appeared in novels, poetry, tapestries, nine
mythological heroines, warrior women.
These figures were resuscitated by men. So we can assume that
the feminization of man had to be addressed, the men no longer
being warriors and being stuck at home. If men had to stay away
from war, then dreamed women could wear shining armours to
expose a wild and luscious figure.
Now if we envisage our modern times in the light of this medieval
chapter, couldn’t we see an identical set of circumstances? We
are witnessing dirty wars that neglect usual rules and kill more
civilians than soldiers. We are at war, but it is an economical one
and we are drowned in it. And though women take their share of
the best and the worst of this century, we can see new
fantasmagoric female figures displayed for both men and
women. And beyond the feminine figure an androgynous woman
is also entering the picture.
The « garçonne » from the 20’s has transmuted into Lara Croft,
not forgetting Barbarella, Ripley and Black Mamba… More
seducing than ever, and strong as strong can get.
Whether women are this or that, mothers, wives, housewives or
workers, the traditional feminist outlook or debate are not my
concern here, the issue for me is that these figures are still
mostly men’s creations. And they are necessary.
It is this moving and shifting aspect which I would like to unravel.
How does an androgynous figure appear, and suddenly it is a
woman that is re-invented; how do we share in a universal male
fantasy and with a few words open the door to a ray of humanity.
So today we are starting a journey with one of the oldest
feminine figures there is, dug out form the earth whilst she is with
us every day of our busy lives. I am talking about Death, Lady
Death. But there will not be definite answers from my part, or
hers, or of any of us, that we could share that is. .
La Géante. De Nathalie Papin.
Une femme vous invite à voir ce qu’on n’ose pas nommer et
surtout regarder. Mais les images voyagent vers nous et il faudra
bien accepter cette invitation un jour.
Vous êtes invités à suivre la Géante qui vous allègera de vos
lourdes charges.
La Femme Mort que Nathalie Papin vous présente est la
première figure d’une série de portraits contemporains
rassemblés sous l’intitulé des « Neuf Preuses ».
La Papesse. De Jean Yves Picq.
Mythe ou réalité ? La papesse Jeanne aurait été la seule femme
à la tête de l’église catholique de l’an 854 à l’an 856. Ne
réalisant pas qu’elle était enceinte, elle accoucha lors d’une
procession à Rome; la mère et l’enfant furent lapidés à mort et
toute référence à leur existence fut effacée des registres. La
Papesse revient réparer cet oubli, elle veut que l’on se
souvienne de son nom et de son règne d’amour. Accouchement,
naissance, d’une voix qui ne veut pas se taire.
Merteuil, de la pièce “Quartett”, de Heiner Muller.
Merteuil et Valmont, des “Liaisons Dangereuses” se confrontent
à nouveau dans la pièce de Heiner Muller, ou plutôt ils ne
finissent plus de se mettre en scène avec violence et perversité.
Ici, Merteuil dissèque sa relation avec Valmont : qualifié de bon
amant, il est présenté comme un homme pitoyable, affaibli par
les femmes et Merteuil de le lacérer de répliques coupantes et
sauvages, à seule fin d’exposer son fantasme. Aucune Libertine
n’a exprimé autant d’intelligence, et nous devons pour cela
remercier Heiner Muller et Choderlos de Laclos.