docPassim - La Fonderie
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Passim - La Fonderie
Théâtre du Radeau François Tanguy Passim Creation November 7, 2013 Théâtre National de Bretagne - Rennes (Festival Mettre en scène) ©Brigitte Enguerand Théâtre du Radeau 2, rue de la Fonderie 72 000 Le Mans France International tour: Elaine Méric 00 33 6 64 41 21 12 [email protected] Administration : Nathalie Quentin 00 33 2 43 24 93 60 [email protected] ©dessin FrançoisTanguy d’après photo Brigitte Enguérand Théâtre du Radeau!Passim page 2 26/06/2015 Théâtre du Radeau Passim Creation November 7, 2013Théâtre National de Bretagne - Rennes (Festival Mettre en scène) « 2014, year of the Théâtre du Radeau in Pays de la Loire » Coproduction Théâtre du Radeau, Le Mans Théâtre National de Bretagne - Centre Européen Théâtral et Chorégraphique MC2, Maison de la Culture of Grenoble - Scène Nationale Le Grand T, Théâtre de Loire-Atlantique - Nantes LU - le lieu unique, Scène Nationale - Nantes Centre Dramatique National de Besançon - Franche-Comté Coréalisation T2G-Théâtre de Gennevilliers, Festival d’Automne à Paris Director, scenography François Tanguy Sound creation François Tanguy / Eric Goudard Light François Tanguy / François Fauvel / Marek Havlicek Acting Laurence Chable, Patrick Condé, Fosco Corliano, Muriel Hélary, Vincent Joly, Carole Paimpol, Karine Pierre, Jean Rochereau Technical manager François Fauvel Light technicians François Fauvel /Julienne Havlicek Rochereau Sound technician Eric Goudard Set Construction François Fauvel, Vincent Joly, Julienne Havlicek Rochereau, François Tanguy, Eric Goudard et l’équipe du Radeau Administrative & stewardship people Pascal Bence, Nathalie Bernard, Leila Djedid, Annick Lefranc,Franck Lejuste, Martine Minette, Nathalie Quentin, Sonny Zouania with the participation of Claudie Douet Théâtre du Radeau is supported by la Regional Direction of Cultural Affairs of Pays de la Loire, the Regional Council of Pays de la Loire, le General Council of Sarthe, the city of Le Mans and Le Mans Metropolis « 2014, year of Théâtre du Radeau in Pays de la Loire » receives support in the thematic years from the Regional Council of Pays de la Loire Théâtre du Radeau-Passim page 3 26/06/2015 Théâtre du Radeau Passim Extracts from articles after the creation November 7, 2013 at Théâtre National de Bretagne in Rennes (Festival Mettre en scène) « Non only magic, this theater is first a machinery implicating a mass of details. A goldsmith's art producing an impact with is all the subtler as it doesn't expose anything about its processing. » Hugues Le Tanneur /Les InRocKuptibles /Supplément au N°935 « Here, beings and objects are made on the same stuff as dreams; we no longer know who moves the other, frames or bodies. Voices recite Ovid, le Tasse or Pavese, tales and musics form, and rise onstage in one of the most beautiful dramatic poems that we have had occasion to see, so cobbled together, so poor in its means. We are “told” nothing, but hear all the terrible whirring of the world. ». Odile Quirot Le Nouvel Observateur / Blog Théâtre et compagnies « It is from this living scenic matter that a performance like no other is born. A rampant saraband that, from tragic to grotesque, from comedy to romanticism, guides us with the ephemeral incandescence of Saint Elmo's Fire through the great history of theater. ». Patrick Sourd / Les InrocKs N°937 « A pleasant dizziness overcomes you, born of the clever strategy in the attention which reigns over the conception of this violently refined theatrical object, in which the performers, perfect laborers of their driving power, are kings and queens, tiny, rubbery dancers or tragic heroes, hastily dressed in the glad rags of a theatre of ebb and flow. It is as if in a dream, when all strings together, without our wishing. An admirably profound determination in an ethical and aesthetic project from which Tanguy has made an immutable principle.» Jean-Pierre Léonardini / L’humanité 11/18/13 ©FrançoisTanguy Théâtre du Radeau-Passim page 4 26/06/2015 You need to let an involuntary memory surface, passive but haunting, becoming a junction point for the spectators, a place where they might already have been, a reminder, a moment repeated, reproposing itself to memory. What is this memory that turns past fragments into a place of the present? How is it reconstructed on stage under the unconscious pressure of a mental attitude that supposes something unformulated that actually takes shape just there, in the theatre? How does the dreaming intellect give form to these thoughts that become obsessive figures drawn into outlined becomings? It is in this consistency that format and mise-en-scène can be identified, where theatre text becomes a continual, endless digression of theatre theory thinking. Matter can then be given malleability in the aftermath, when potentially realisable imagination has taken shape, has been said, has been repeated. There needs to be a new theatre that can create new formalisation and new signifiers from old functions, reiterating them with a query brought into the present, reinvested with the expressive capacity time had taken away. Thus something stubborn can be allowed to appear: the actor as stage worker, with a constant, ceaselessly repeated gesture, underlined by the sound effects of displaced panels transformed into pure framers and unframers, of which the empty interior only emerges to organize the optical limits of the various moments in the scene. The industrious sound effects of an insistent, reiterated labour, pushed, stressed to the point of the exhaustion of its very matter, by its own doing. The clanking of the actors’ everyday life, the grating clanking of the stage that grimes the musical line and the line of orality, at dispersed but regular points. This would be something of a theatre of nooks of crannies in which something happens furtively, something that is simply the preparation for the mise-en-scène of the mise-en-scène; the very construction of the actor, of his upcoming act; in the shadows, or in the shadow of something that will emerge as if prepared, devised in a precisely factual consciousness: construction of the scene and of the actors, by themselves. […] Jean-Paul Manganaro – Text developed from « Ça qui n’est pas là (That which is not here)» Théâtre du Radeau-Passim page 5 26/06/2015 Théâtre du Radeau Passim Lyrics Sound elaboration Fragments chosen in the following works: Ludwig Von Beethoven Penthesilea Heinrich Von Kleist translation of Julien Gracq / José Corti Anton Bruckner The Massacre at Paris Christopher Marlowe translation Jean Vauthier / NRF Gallimard John Cage Bernard Cavanna Orlando Furioso Ariosto original version Paul Celan King Lear William Shakespeare translation Françoise Morvan / Les Solitaires Intempestifs La tentation de Saint Antoine Gustave Flaubert La pléiade Hanns Eisler Euripide Christoph Willibald Gluck Sonnets William Shakespeare translation Pierre Jean Jouve / Poésie Gallimard Olivier Greif Le misanthrope Molière Editions de Crémille Georg Friedrich Haendel Rimes et Plaintes (anthology) Torquato Tasso translation Michel Orcel / Fayard and original version Gerusalemme Liberata ( Armida) Torquato Tasso translation Jacques Audiberti / imprimerie nationale Dialoghi con Leucò Cesare Pavese translation Mario Fusco / Quarto Gallimard Jonathan Harvey Mauricio Kagel György Kurtág Francisco Lopez Viatcheslav Ovtchinnikov Krzysztof Penderecki Les vagues Virginia Woolf Dimitra Podara La vida es sueño Pedro Calderón de la Barca version originale / G. Flammarion Alberto Posadas Ezra Pound Metamorphoses Ovid translation Olivier Sers / Les Belles Lettres Sergueï Rachmaninov The Winter’s Tale William Shakespeare translation Yves Bonnefoy / Folio Jean-Philippe Rameau Franz Schubert Hamlet William Shakespeare translation André Markowicz / Babel Actes Sud Jean Sibelius Les Troyennes Euripide grec ancien / Les Belles lettres Iannis Xenakis Giuseppe Verdi Tiergarten Vassili Grossman translation Luba Jurgenson / Robert Lafont Théâtre du Radeau-Passim Marc-André Dalbavie Hans Zender page 6 26/06/2015 Théâtre du Radeau Passim Tours 2013 November 7 - 16 Creation at the Festival Mettre en Scène, Théâtre National de Bretagne / Rennes (9 performances) December 5 - 14 La Fonderie with L’Espal, Subsidized Scene / Le Mans (8 performances) 2014 January 14 - 17 Le Grand R, National Scene / La Roche-sur-Yon (4 performances) January 22 - 30 LU, le lieu Unique with Le Grand T-Théâtre of Loire-Atlantique / Nantes (8 performances) September 26 - October 18 Théâtre de Gennevilliers (T2G) with Festival d’Automne à Paris / Paris (20 performances) November 5 - 15 Centre Dramatique National of Besançon / Franche-Comté (8 performances) November 25 - 29 La Fonderie au Mans (5 performances) 2015 January 7 - 16 Théâtre Garonne / Toulouse (8 performances) January 21 - 31 Théâtre National of Strasbourg (TNS) (10 performances) February 5 - 12 MC2, Maison de la Culture of Grenoble (7 performances) May 27- 31 FTA-FestivalTransamériques, Montréal (5 performances) July 16 - 18 Greekfestival, Athènes (3 performances) Tour in progress for 2015-2016 Passim©Brigitte Enguerand Théâtre du Radeau-Passim page 7 26/06/2015 Théâtre du Radeau Creations and productions by François Tanguy Théâtre du Radeau was created at Le Mans in 1977, joined in 1982 by François Tanguy, director. The company settled down in 1985 in an old storehouse of bus, which became La Fonderie in 1992. 2011 Onzième, creation Coproduction: Théâtre National de Bretagne - Rennes, Association Artemps - Dijon, Théâtre de Gennevilliers -Centre Dramatique National de Création Contemporaine and Festival d’Automne Paris, Espace Malraux scène nationale - Chambéry & Savoie, Théâtre Garonne - Toulouse 2007 Ricercar, creation Coproduction: TNB - Rennes, Odéon Théâtre de l’Europe - Paris, Festival d’Automne - Paris, Festival d’Avignon, Centre Chorégraphique National -Rillieux-la-Pape - Cie Maguy Marin, Théâtre Garonne Toulouse. 2004 Coda, creation Coproduction: TNB - Rennes, Odéon Théâtre de l’Europe - Paris, Festival d’Automne - Paris 2001 Les Cantates, creation Coproduction: TNB – Rennes, Odéon Théâtre de l’Europe - Paris 1998 Orphéon - Bataille - suite lyrique, creation Coproduction: TNB – Rennes 1996 Bataille du Tagliamento, creation Coproduction: TNB - Rennes, Festival d’Automne - Paris, CDN - Gennevilliers, Kunsfest - Weimar, Théâtre National - Dijon 1994 Choral, creation Coproduction: TNB - Rennes, Quartz - Brest, Théâtre en Mai - Dijon, Théâtre Garonne - Toulouse 1991 Chant du Bouc, creation Coproduction: Festival d’Automne - Paris, TNB - Rennes, Quartz - Brest, Bernardines - Marseille, CDN - Reims. Participation Théâtre Garonne - Toulouse 1989 Woyzeck - Büchner - Fragments forains Coproduction: Quartz - Brest, TGP - St Denis, Festival d’Automne - Paris 1987 Jeu de Faust, creation Coproduction: Atelier Lyrique du Rhin – Colmar, Théâtre des Arts - Cergy Pontoise 1986 Mystère Bouffe, creation 1985 Le songe d’une nuit d’été - W. Shakespeare Coproduction: Palais des Congrès et de la Culture - Le Mans 1984 Le retable de séraphin, creation 1983 L’Eden et les cendres, creation 1982 Dom Juan - Molière Théâtre du Radeau-Passim page 8 26/06/2015 Théâtre du Radeau in France FESTIVALS • • • • • • • Festival d’Automne – Paris Festival mettre en scène – Rennes Festival d’Avignon Biennale Internationale du spectacle – Nantes Festival Théâtre en Mai – Dijon Festival Européen – Blois Printemps des comédiens – Montpellier PARIS AND SUBURB • • • • • • • • • Odéon Théâtre de l’Europe Théâtre du Soleil Théâtre de la Bastille Théâtre de l’Aquarium, Chapelle Saint-Roch Théâtre Gérard Philipe – Saint-Denis T2G – Gennevilliers Théâtre de Cergy Pontoise Théâtre Jean Vilar – Vitry sur Seine Théâtre de Chatillon COUNTRY TOWNS • • • • • • • • • • • • • • • • • • • • • Théâtre National de Bretagne – Rennes Théâtre des Célestins Cie Maguy Marin – Lyon TNS – Strasbourg Maillon – Strasbourg Maison de la Culture - Grenoble Théâtre Garonne – Toulouse Centre Dramatique National – Dijon, Angers, Caen, Orléans, Montluçon, Nancy, Thionville, Reims, Montpellier Lieu Unique – Nantes Théâtre de Chartres Le Grand R – La Roche Sur Yon Scène Nationale – Saint-Brieuc, Clermont-Ferrand, Pau, Brest, Chambéry, Foix, Dieppe, Saint-Nazaire – Le Havre Atelier du Rhin – Colmar Centres Culturels – Wissembourg & Mulhouse Théâtre National Populaire – Villeurbanne, TNT – Bordeaux, Merlan – Marseille Théâtre National – Bordeaux Théâtre des Bernardines – Marseille Théâtre de Nîmes Bois de l’Aune – Aix En Provence La Fonderie – Le Mans Théâtre du Radeau-Passim page 9 26/06/2015 Théâtre du Radeau in foreign countries Since 30 years, Théâtre du Radeau, supported by Institut Français, has performed 245 times abroad, with Mystère Bouffe, Jeu de Faust, Woyzeck-Büchner-Fragments Forains, Chant du Bouc, Choral, Bataille du Tagliamento, Orphéon, Les Cantates, Coda, Ricercar. AUSTRIA • Salzburg BELGIUM • De Singel - Liege • Anvers • Kunsten Festival - Brussels BOSNIA AND HERZEGOVINA • Sarajevo BRAZIL • International Festival - SESC Belenzinho - Curitiba • Sao Paulo CANADA • F.T.A – Montreal CROATIA • Zagreb CZECH REPUBLIC • Prague DENMARK • International Festival – Aarhus FINLAND • International Festival – Helsinki GERMANY • Hebbel - Berlin • Freiburg • Hamburg • Hanover • Mannheim • Spiel Art - Munich • Nuremberg Théâtre du Radeau-Passim page 10 26/06/2015 • • Saarbrücken European capital of culture – Weimar ITALY • Rome • Bergamo • International Festival - Santarcangelo • Bologna • La Biennale - Venice • Pontedera NORWAY • BIT Teatergarasjen - Bergen • Oslo POLAND • Warsaw • Wroclaw PORTUGAL • Lisbon, European capital of culture • Porto RUSSIAN FEDERATION • NET Festival – Moscow SOUTH KOREA • Festival Performing Arts (FPA) – Seoul SPAIN • Madrid • Barcelona • Sitges • Granada • Seville SWITZERLAND • Geneva • Basel UNITED KINGDOM • London • Jersey Théâtre du Radeau-Passim page 11 26/06/2015 Théâtre du Radeau François Tanguy Passim few press articles Théâtre du Radeau-Passim page 12 26/06/2015 Extracts from Le Monde Brigitte Salino Translated by Porter & Cie December 14, 2013 Passim, running until December 14th before going on tour in 2014 and being presented at the Festival d'automne, enters into a category that denies the very notion of a show. It is an experience, one of those moments where all references are erased, where all certitudes fly away, except that of the here and there, to use one of the possible translations of passim. There are one hundred and thirty seats in the theatre. François Tanguy sticks to this small number “because looking produces action” he says, and for this to happen, the audience must be in close proximity to the stage. As always, the stage is filled with a disorder of wood panels that, as the sequences unfold, create unimaginable spaces, as if sedimented by time, the time that François Tanguy probes to find that which is most secret and revealing: the time of theatre, literature and music. Because all moves together in Passim, sounds, words, movement, light, all come together to create a complete vision of what could be a performance. And, at the same time, all is broken up. It is not about following a storyline, but about accepting flashes of brilliance. It opens with the appearance of a woman in an old-fashioned black dress. She says “Look! There, flush with the ridge...”. It is Penthesilea, by Kleist, the first of many authors we will hear: Marlowe, Ariosto, Shakespeare, Flaubert, Molière, Le Tasse, Pavese, Ovid... Each author is accompanied by a composer: Beethoven, Bruckner, John Cage, Penderecki, Rameau, Handel, Ligeti... Their union is so intimate that they carry music and text in the same movement, murmured, proclaimed, recited, in a style that could often seem false, just as the postures of the actors go against nature. But this is where the miracle comes in: we seem to dive into an archaic night of theatre, filled with characters, funny, mean or childish, and haunted by the sounds and furies of the world springing up before our eyes, like incandescent lava. If only one image could be kept, it would be the scene where King Lear has called his daughters to share his kingdom. Upon realizing that his favorite child, Cordelia, will not play her father's game of flattering him by gushing with praise and devotion, Lear beats his head against the table and, in this movement, reveals all the abandon of a man who knows he is finished. And all his mystery, too. Little does it matter that we had just a few minutes of King Lear. We had it all. Théâtre du Radeau-Passim page 13 26/06/2015 The Theatre Chronic by Jean-Pierre Léonardini Translated by Porter & Cie November 11, 2013 That Raft that Bewitches Us... Medusa's It is in Le Mans, at the Fonderie, where François Tanguy set up his phalanstery a while back, that his Théâtre du Radeau (Theatre of the Raft) leads well-timed outward intrusions. Their latest creation is called Passim. This word that simply means “here and there, in different parts of a written work”. As a dazzling and versatile scenic evocation of privileged moments unfolds, we experience this in what could be theatre's great book, into whose centre would be inserted the torn pages of a bloody 20th century history textbook. To this end, nine are put to the task (Laurence Chable, Patrick Condé, Fosco Corliano, Muriel Hélary, Vincent Joly, Carole Paimpol, Karine Pierre, Jean Rochereau, Anne Baudoux), in perpetual movement within the memory's attic space, amidst tables, doors opening to elsewhere, empty picture frames where one signs in while passing through. An astonishing mix of velocity and slowness, in shambles before a winged-labyrinth where transformations are stirred. Acting, mime, dance, song, declaration, all fall together superbly in the weaving of signs, moving toward operatic sensation. The contribution of words is great: from Kleist's Penthesilea to Ovid's Metamorphoses, from Pavese to Shakespeare (most often), to Pushkin to le Tasse or Ariosto. All the while we can distinguish, here and there, in muted tones, amongst a constant wave of music (from Cage to Kurtág, from Beethoven to Penderecki, from Eisler to Rameau, etc.), the voices of Hitler and Lenin, of Goebbels or of the poets Paul Celan and Ezra Pound). A pleasant dizziness overcomes you, born of the clever strategy in the attention which reigns over the conception of this violently refined theatrical object, in which the performers, perfect laborers of their driving power, are kings and queens, tiny, rubbery dancers or tragic heroes, hastily dressed in the gladrags of a theatre of ebb and flow. It is as if in a dream, when all strings together, without our wishing. An admirably profound determination in an ethical and aesthetic project from which Tanguy has made an immutable principle. Théâtre du Radeau-Passim page 14 26/06/2015 Patrick Sourd Translated by Porter & Cie november 18, 2013 François Tanguy's Passim, the latest creation of the Théâtre du Radeau (Theatre of the Raft), proves to be a sublime odyssey where the art of theater plays on a sea of emotions, entirely stripped down. With Passim, François Tanguy takes us back to the time of libraries, well before computers and search engine algorithms, when a simple term allowed us to count the occurrences of the same expression in a work. Meaning "here and there in different places," the Latin word "passim" allows us to indicate the presence of a single reference throughout the pages of a book. And so we are immersed in the gathering of great moments of poetic exaltation that punctuate François Tanguy's intimate dramaturgy. Living scenes Machinery that dare not speak its name, set design that resembles a haunted shed, forgotten wardrobes where old decorative elements are crammed together, pell-mell. Behind the invention of the intentionally unstable proscenium, this magical cave opens onto the shadows of chaos, made up of wood panels covered by faded paint. Here, as in many scenarios for possible stagings, the horizon is drawn from dining hall tables that randomly shatter large metal porches: the chapters of dramatic memory needing to be rebuilt. Constantly pulled by fields of obscure forces, this cluster is possessed by a deus ex machina that rules over the order of each act, a device that decides, as you throw the dice, the continuation of the ceremony to come. It is from this living scenic matter that a performance like no other is born. A rampant saraband that, from tragic to grotesque, from comedy to romanticism, guides us with the ephemeral incandescence of Saint Elmo's Fire through the great history of theater. Ideal musical score Like ghosts crystallized by the words of poets, the actors of Théâtre du Radeau (Theatre of the Raft) appear in beautiful tableaux vivants (living pictures), only to dissolve the next moment into the night, to then be reborn in other garb. A voyage on the razor's edge of sensitivity which, from Kleist's Penthesilea to Shakespeare's Lear and Hamlet, from Molière's The Misanthrope to Calderon's Life is a Dream, naming only a few...ends with the dreamlike tale of Tiergarten (the short story of Vasily Grossman that describes the Berlin Zoo at the time of Germany's debacle) while the actors onstage seem to revive a George Grosz painting, pilloried by what the Nazis declared degenerate art. Each dramatic work is associated with a composer and François Tanguy colors the wave of our emotions with the creation of an ideal score in which we find Beethoven, Cage, Schubert, and Xenakis. Perfecting the adventure, this musical accompaniment is yet another element that makes for a unique and unforgettable experience. Théâtre du Radeau-Passim page 15 26/06/2015 “Theatre and Companies” Blog by Odile Quirot Translated by Porter & Cie november 12, 2013 Magnificence, intense poetry, slow, muted battles between men and women, between bodies and objects, voices tell of wars, with Don Quixote and his horse, like an obstinate puppet in the toil of his dreams, with a woman wearing a cinched white dress in a Rembrandt-like chiaroscuro, perhaps... Here, beings and objects are made on the same stuff as dreams; we no longer know who moves the other, frames or bodies. Voices recite Ovid, le Tasse or Pavese, tales and musics form, and rise onstage in one of the most beautiful dramatic poems that we have had occasion to see, so cobbled together, so poor in its means. We are “told” nothing, but hear all the terrible whirring of the world. We would need much time to talk about this “Passim” in which François Tanguy and his Théâtre du Radeau (Theatre of the Raft) continue on their unyielding quest of the furtive and the enduring, and of a theatre where time itself seems amongst the substance where images and sounds settle in, gently. The grave-faced actors appear as puppets, dummies, ghosts. The Théâtre du Radeau's production is a great, a truly great, show. It grabs us. It strikes us. We shall speak more of this later, and better than here in these few quick words. But since Tadeusz Kantor left us, no one has been able to celebrate, as François Tanguy does, such a vivacious and engaging theatre, one of death, of shadow. Théâtre du Radeau-Passim page 16 26/06/2015 Extracts from Le Monde Fabienne Darge Translated by Porter & Cie November 12, 2011 The « Mettre en scène » Festival of the city of Rennes could not have had a better opening. François Tanguy and his Theatre du Radeau (Theatre of the Raft) presented their latest creation, mysteriously entitled “Eleventh”. It is a stunning beauty, which should be enough to convince those still intimidated by thought-based and sensitive theatre, theatre not intended to represent the world, to give it a try. One must give oneself as entirely as possible to this beauty that is first of all a calm countryside that could have been filmed near Le Mans, where the Radeau was created over thirty years ago. There is nothing extraordinary about it, and yet, this countryside is projected on moveable panels that, as always with Françoise Tanguy, compose and recompose the space. Clearly what matters is how it is seen and perceived. And then there is that which it confronts. History, and specifically that of the 20th century's great tragedies, are always profoundly handled in François Tanguy's theatre, but in “Eleventh”, we sense it more than in other of Tanguy's recent creations. Let yourself be swept away by ghosts and shadows... The initiated, not to mention the aficionados, will recognize the inimitable universe that François Tanguy masters on stage, with his perspectives and vanishing points, his cast shadows, in this theatre of echos and of figures where light plays as great a role as space, movement, script or music. Indeed, as in François Tanguy's “Cantatas”, “Coda” and “Ricercar”, it is music which named this production, a reference to the eleventh of sixteen of Beethoven's string quartets, entitled « serioso ». The sound of the world that François Tanguy's theatre amplifies is that of boots, that of political violence. In the puzzle composed by this director, painter and choreographer, Richard II's meditation on destiny and power, at the end of Shakespeare's eponymous play, dialogues with the young helmeted soldiers who try, grotesquely, to salute in fascist style, while we hear an excerpt from a speech by Mussolini. But we need not always understand and identify everything on this raft that takes us away, where the spectator has no narrative or fictional oar on which to cling. There is a touch of the archeologist in the captain of the Radeau and his actors perform as we have seen nowhere else, or rather do not perform but summon fragments, traces of human experience. Together, they create this theatre that Jean-Paul Manganaro praises for its «depth of the necessary beauty before History's eternal scowl ». Théâtre du Radeau-Passim page 17 26/06/2015 Eleventh: Conversation with a Mountain Online critique The fury by Yannick Butel Translated by Porter & Cie February 22, 2012 Exiles in language, or the eleventh letter " ...Eleventh is between ten and twelve. It's in the middle, midway, a meridian, the number of quartet.. ” writes Tanguy who fills word with time rhythm, as we do music and chronologies. Needless to say, the middle is still undecided, unfinished, that which is to come, neither here nor there, but elsewhere. “ Middle ” says Tanguy, is a means of showing that the theatre is neither an exit nor an ending, but rather a door remaining ajar, a place midstream between that which looks at us, and that which we look towards. A means for François Tanguy to underline his “ cedilla ” gesture, as he calls it, offering us through friendship (he writes at the end) the possibility to move. A means to pause in respect of that which has moved, before signing one's first name, and one's last. A means of reminding us that it is here, at work, in the work of words, sounds, thoughts, in a rapport of inventions that do not rhyme with conventions. Tanguy is in a rapport of sensitive intellection where reason is the guide, but not the key. In the middle of a theatre that is the space of audition rather than pleasure...of sight rather than knowledge...here where the ear and the eye partake in an infinite conversation with wit, and perhaps the inaudibile impossible. Tanguy's creations, or his stagings, distinguish themselves from a theatre that could easily be reduced to mere fable ; Tanguy's touch clashes with certain critical practice, from other such gimmicks of merchants and marketers who guarantee eternity from a mortal theatre. To speak of Eleventh, affirming, as have others, that language is but a sensitive medium and not where we are tied to the intelligible, leads us to the realization that the word is the space for a difference, a burst, a strangeness, an attempt ... closer to groping, or stammering, or trampling ... which lead to the precise movement of thought at work, with language stepping in before the work. And to see Eleventh, like a trace or impression of this language that soars in shards and retreats from lands, is to see its withdrawal and its resistance in the spaces of definitions, in lands of exclusions. From there, perhaps we could see Eleventh as a Babelian architecture from a grouping of quarters and streets oozing the languages of minorities, languages formed by their exiled authors, exile being the condition of poets. What is good for the language that we all strive toward is speech that, upon gaining poetry and poetic meridians, recovers a sense that everyday language had removed. ...Tanguy's work, but also, maybe more appropriately, in his stagings, is the gesture of shapers: a shaper of boards. His work and the attention he pays to materials allow for infinite balance, the escape of the endless, the fleeing of an improbable duration. Shaping (or the presence of this word “ cedilla” described by Tanguy) to make heard, through the alchemic laws of language when it is no longer digestible, as wrote Artaud, the disaccords and the tensions of a word or of art in Tanguy is to “ craft in its time. ” To make F ring and vibrate ; the Eleventh is the bass clef, the most serious point of its gravity. Eleventh seems, in the style of Claude Simon who thought whilst writing The Road to Flanders “ all that can happen in one instant makes memories, images and associations in the spirit ”. Tanguy and the actors of the Radeau will write literary, poetic, musical, symphonic moments. They shall restore "the edge of the blade," which logically is brevity and intensity, scarcity and syncopation. Deconstructed, picked-up, condensed to the point of some Théâtre du Radeau-Passim page 18 26/06/2015 precipitation, Eleventh presents not a series of paintings hanging in indecipherable order, but rather shows common ground in scattering, recurrence in the eclecticism of the broken, the eternal return of the audio and visual forms in what is linearly offered. The big parade In Eleventh where all proceeds from the excessive because scaling denies access to a naturalistic scene, Tanguy prefers images that bring us into more sensitive areas of the real ... On this stage, the movement of the actor, backing up, clustering ... brings to mind the gesture of a work in progress rather than theatrical illusion ... Among these artifices of odds and ends, plastic flower, colorful rifle, tiny coffin, Countess' chair, corsetted unders, unlikely hat ... kitsch dresses and other outfits are not intended to be true, but only to emphasize a travesty that goes with a trade ... This troupe of actors take and borrow from a cartoon world ... There, in the relationship of a racket "photographed" by Lautrec, in the vicinity of Chagall's loved colors, in the vicinity of the frozen King and the Mockingbird, in the area of the silent films of Keaton, in line with the busted faces of Ten... Eleventh presents fragments of scenes that form an eclectic and baroque whole, a circus where you may hear from time to time: "Have you ever suffered in your life? " And this little world of actors and actresses who navigate under the laws of the off-road may be mistaken for those other clowns in exile. Harlequin without Rapine, Pierrot with no moon, old exhausted acrobats, whiny and depressed. From Crispin to Daumier, the tragic clown of Rouault, the self-portrait of Artaud in swollen clown form, ... clowns with raised arms, military clowns, the yellow clown of Buffet ... It is a fairground that has only a thin link to the circus. A bunch of puppets who live in the tension caused by being public entertainers, each with inner suffering. All could resemble the metaphysical clowns invented by Karl Valentin. All are, and create, the "punished clown" of Mallarmé. And to watch the flanked cardboard headgear, their faces rouged with make-up to hide their mouths pulled tight by adhesive strips ... faces looking like the rest of a game gone wrong. A parade shaped to be Beckett's fair ... Eleventh then ends with a cohort of actors clustered under harsh full light... a sort of faded bouquet of colorful brain tumors, a group of cockroaches who sing their distress and fatigue ... a bunch of actors like so many unhealthy characters, having finished grinning their madness in a theater, not far from the Salpetrière assylum of the Salpetriere, brings us closest to the pain produced by the mind in conversation with the mountains of history and memory. Théâtre du Radeau-Passim page 19 26/06/2015 Passim©Brigitte Enguerand Théâtre du Radeau François Tanguy Théâtre du Radeau 2, rue de la Fonderie 72 000 Le Mans - France 00 33 2 43 24 93 60 International tour: Elaine Méric 00 33 6 64 41 21 12 [email protected] Administration : Nathalie Quentin 00 33 2 43 24 93 60 [email protected] Théâtre du Radeau-Passim page 20 26/06/2015
