shadoks forever - Théâtre de Ajmer

SHADOKS FOREVER
By Jacques Rouxel.
A draft by Franck Dimech.
With eRikm and Catherine Jauniaux.
LE THEATRE DE AJMER
17, cours julien 13006 Marseille – TEL : 09 52 54 09 73 - 06 10 75 24 29
[email protected]://theatredeajmer.com
THE PERFORMERS:
Adaptation : Didier da SILVA and Franck DIMECH.
Stage Direction : Franck DIMECH.
Music : eRikm.
Set designer and lighting : Sylvain FAYE and Franck DIMECH.
Costumes : Chantal ROUSSEAU.
Props : Ghislaine HERBERA.
ON STAGE:
The narrator and the Gégène- Insect : Laurent de RICHEMOND.
The Gibis : eRikm and Catherine JAUNIAUX.
The Shadoks : Pascal FARRE, Olivier HOREAU, Peggy PENEAU,
Sandrine ROMMEL.
I. « SHADOKS BEFORE EVER », a concert-version of the
« Shadoks » by Jacques Rouxel.
In August, 2013, we shall present within the framework of the Mimi Festival in Marseille,
a concert-version of the project «Shadoks Forever " titled "Shadoks Ever Before ".
The sound universe, intrinsic component of Jacques Rouxel's work, will be the main
vector, not only because of the music composed by eRikm and interpreted on stage by
the duet which he will form with Catherine Jauniaux, but also by the presence of five
actors involved in actions more "performatives" than theatrical.
So we intend to exploit this concert-version of the "Shadoks" in various places and
festivals of which the first mission is to spread, in the broad sense, musical productions.
Description of the project:
This unusual object - an" object of sound "- will have its own laws, independent from
those which will structure the later project " Shadoks Forever ": the only languages that
we will authorize to ourselves will be the ones of the bodies and language invented by
Rouxel (the articulation of the syllables Ga-Bu-Zo-Meu, which, combined between
themselves form the structure of the Shadok language), the music and the noises.
The presence of the narrator and the text which he utters (the comment said by Claude
Piéplu in the" Shadoks "), will thus be pushed aside from this proposal.
The spectator will be invited to witness a shadokienne ceremony, without any other form
of explanation than a psychedelic ritual and completely off the wall.
It will be a question of making a shape from poor materials (no set, succinct accessories,
and light).
The structure of "Shadoks Ever Before» will be formed by six groups of work materials,
each consisting of five fragments of two minutes, that is to say one hour long
performance.
These thirty fragments will have as framework events and purposes drawn from seasons
1 and 2 of the series “The Shadoks” (1968 and 1969).
On stage, four actors-Shadoks (two males and two females) and a couple of Gibismusicians will give an account, by means of the repetition, the loop and the exhaustion
of possible, of the famous aphorism of Jacques Rouxel: “It is better to mobilize one’s
intelligence on stupidities than to mobilize one’s stupidity on intelligent things”.
The duet eRikm-Catherine Jauniaux will make use of their tools of predilection to subvert
and/or to accompany the intervention by the actors: the improvisation, the stake in
tension between acoustic and electronic elements, the monotonous chant, the shout, the
intrusion of varied musical instruments, the diversion of daily life objects used for
purposes of " ready-made sound ".
Definition of the performance’s work materials:
1. “The Pompomaniaques”. One remembers it, the Shadoks pumped. Inventors of a
pump to collect the intelligence of their neighbours the Gibis (the machine has never
functioned); the Shadoks became addicted to the pumping, so that a Shadok which
does not pump is a dead Shadok.
To build this work material, we will start from insightful principles extracted from the
Shadokienne philosophy:
- «I pump, therefore I am ".
-" It is better to pump flat out, even if nothing happens than to risk that there is
something worse happening by not pumping ".
-"It is only while trying continuously that one ends up succeeding. In other words: the
more it fails, the more we have a chance that it works".
2. “Sex and reproduction in the Shadoks”. We know it, the Shadok is a stupid idiot
and particularly a fatal being. To the "charity ", prerogative of the Gibis, he prefers
«the hatred of all the others ".
However, the Shadoks mate and must know how to count to four to lay their egg.
The Shadoks lay exclusively iron eggs to avoid that they break while falling. One day,
whereas the Shadok population was decimated, (there were only four remaining) the
survivors elected the named "beyond redemption" at the Minister of the population
post. He thus tried "to populate", except that he could count only up to three.
3. “The war of musics”. The Shadoks decided to colonize the earth where the
Gégène insect and the Gibis live in good agreement because the Gibis make some
music and that Gégène likes the music of Gibis.
From the moon where they took refuge thanks to ladders, the Shadoks undertook to
send to the earth Shadoknauts, with the idea to tidy it up.
Made furious by the Shadoks noise, Gégène and his friend the Gibis decide to
exterminate them. Then begin a merciless and musical war where the Shadoks
orchestras, with their weapons of concrete music, face the melodious music of the
Gibis warriors and of their Gégène commander.
4. “Schizophrenia”. This is the story of a Gibie (Catherine Jauniaux) that, during a
cosmic journey, loses her hat. Yet, a Gibi without a hat is a Gibi which goes nuts.
Here she becomes crazy. To calm her down, we show her the Shadoks on television,
so that by doing so she eventually think she is a Shadok, she eventually ends dress
up as a Shadok and to jump feet-together on the turntables of her Gibi companion
(eRikm).
5. “Meeting with Death this bitch disguised as a disease which makes you
shrink”. Just like an actor, a Shadok dies tremendously. Folded, compressed,
bursted, genocided, the Shadok dies by breath. One knows less the story of the
Gibis which once became Gégène’s tenants on the earth, began to get bored, to get
fat, to do sport (the discovery of the pumping), and to exploit those Shadoks reduced
to slavery. The Gibis caught the Disease of the Earth, the one that makes you die.
The Shadoks have, as for them, known Death under its miscellaneous forms and
subterfuges: disguised as a Disease which makes shrink the one who catches it,
Death decimated them. Their legs at first twisted themselves or softened, the inside
was affected and the entire Shadoks went rotten, lost weight and to finish,
disappeared. They also knew the Disease of the Moon, a universal evil which attacks
everything, but of which one knows nothing except that it is very simply cured by
hitting on the sick part. Ill, the Shadoks did not pump any more and to urge them to
pump, one of them dug up the Old Legend which promised them the end of the
world. But as it had mistaken the date, the ill Shadoks, sentenced it to death and
executed it.
1. “The loneliness of the Gégène-Insect”. Perched on narrow trestles the actor
Laurent de Richemond will dance. When he does not dance any more, he will spit
fire or will howl to death. His body will be covered by microphones kind of soundmonolith whose eRikm will draw profusion of sounds.
Franck Dimech,
The 4th of June 2012.
Shadokcracy.
What could be more obvious for a stage director and a composer of the same generation, X1, to
propose a theatrical and musical version of The Shadoks?
Thanks to The Shadoks, our childhood was rocked by the absurdity and often incomprehension,
that questioned the direction itself of what the then generation of the“sixties” could transmit to us
as a rule (regulations). The Shadoks represented this sociétal and political allegory, as well as a
real alchemy between sound and image.
My choice which consists in sharing this project in its musical dimension with Catherine
Jauniaux, singer with which I perform on stage since 1996, seems essential to me. Catherine
Jauniaux, with her voice improvises characters, she gives them life the time of a breath. In her
vocal performances various phonatory identities emerge, of the languages and phonemes are
invented. Backstreet abortionist (Angels Maker)2 until with the ether3, Catherine will be a
charismatic Gibi4.
A dialectical form is to be realized between the singing, improvised electronics and the creation
of a phonatory dictionary, to which we will refer. It will reveal sensitive spaces from absurdity to
the comic one. This dictionary will create an articulation between a theatrical form (it is not about
musical theatre or of an object) and a musical form in agreement with my practice and bond with
the spirit of Pierre Schaeffer5, whose ingenuity (director of the research centre of the ORTF
from1961 to 1975) remains long-lived today.
The re-visitation of the Shadoks civilizational monument originally in two dimensions, will gain I
hope for it, a dimension other than the cinematographic fantasy in 3D, which under the fiery
flood of technologies, sit down with all its industrial mass on the least of critical space.
A Shadok currency, in the echo of a bottle of Klein6:
“If there is no solution, it is because there is no problem.”
eRikm 06 of june 2012
1 http://fr.wikipedia.org/wiki/Génération_X
2 http://fr.wikipedia.org/wiki/Paradoxe_des_jumeaux
3 http://fr.wikipedia.org/wiki/Éther_(physique)#L.27.C3.A9ther_apr.C3.A8s_1905
4 http://fr.wikipedia.org/wiki/Pierre_Schaeffer
5 http://fr.wikipedia.org/wiki/Les_Shadoks#Historique
6 http://fr.wikipedia.org/wiki/Bouteille_de_Klein
II. “SHADOKS FOREVER”, a performance
from “The Shadoks” by Jacques ROUXEL .
1. SOME REFERENCE MARKS :
The Shadoks, born from the mind of Jacques Rouxel, marked the imaginary French
collective of the last part of the twentieth century.
They are the ramification of a disrespectful philosophical thought, inherited from the
surrealists, of the dada’s movement, of Alphonse Allais, Artaud and of Jarry.
However, their universe is not foreign with that of the human troops of “Le Dépleupleur”
(The Lost Ones), by Samuel Beckett.
The Shadoks world is plane. It does not have depth, it is without perspective.
The cosmogony to which it belongs summarizes as follows: on the right the Shadoks
planet, on the left the Gibis planet, in the centre the earth occupied by a horrible parasite
called “Gégène insect”.
Because their respective planets did not go well the Shadoks and the Gibis eyed up
towards the earth and decided to colonize it.
When the Shadoks became aware that their neighbours the Gibis owned machines, they
undertook to build the same ones. But the Shadoks machines never functioned. Then,
the Shadoks started to pump in order to subtilize through the cosmos the intelligence of
the Gibis and the invaluable Cosmogole 999 that the Gibis had learned how to extract
from the atmosphere.
Thus all the Shadoks society was put to pump, strong by the adage “it is better to pump
even if nothing happens than to risk that something worse happens while not pumping”.
2. THE ADAPTATION :
From the comment remained in all memories said by Claude Piéplu and written by
Jacques Rouxel, Didier Da Silva and Franck Dimech will establish a synopsis of fortyfive sequences of two minutes each one.
The Strangeness of Rouxel project, and its success, is closely related to the sound
universe of the “Shadoks”. Insisting and irritating, almost aggressive, it takes part to
burst the conventional sutures of the animated images of that period.
Thus, in this daily celebration of approximately two minutes, each of us was charmed or
ulcerated by the text, the image and the sound. Either that one of these elements was
always too much, or that the whole was an insult, so much so, that Mrs Pompidou,
France's First Lady, had to publicly stand up for the intrinsic artistic value of this series.
Our adaptation by calling on to the theatre, the music and the dance will try to give an
account, on the stage, by amalgam of means to which Jacques Rouxel delivered onto
the screen.
Three poles thus to our work: speech, the bodies and their invented language
(Gabuzomeu), the music and the noises.
3.
THE NARRATOR :
Perched at four meters high, his space is at the very least constraining. He reigns alone
on the articulated language which we understand.
Like the speaker in the Japanese traditional theatre, he is the guard of the sacred scroll
which contains the tale.
Mouth put up on an unsuited body, its mortal coil seems to have given up at every
undertaken virile glorification: his ponderal system is frankly at bay.
4.
THE SHADOKS :
“The Shadoks” looked like birds: they had a beak and legs but their wings were
ridiculously tiny. Each time they tried to go on the ground with their small wings,
obviously, that missed.
The Shadoks were excessively nasty.
At the beginning, they laid ordinary eggs but, as they had too long legs, these eggs
broke. Now the Shadoks lay iron eggs. (Jacques Rouxel).
They are four of them which communicate between themselves by means of very
restricted oral elements: GA, BU, ZO and MEU. These only words allow them to say
everything.
This rationing of the language, invented by Jacques Rouxel, promise us on behalf of the
actors some attempts of infinite variations so much so these Shadoks are animated by
ambitious projects.
Also, most of their work will be to express the greatest conviction to the achievement of
the more silly actions.
Each action, compulsorily repetitive, each movement, each move of these characters is
subjected to strict laws. A meticulous body partition will be elaborated, inspired by the
laws which govern the functioning of the human hordes in “Le Dépeupleur” by Samuel
Beckett, combinatory series where the possible ones become exhausted.
No romantic strategy by the characters will be tolerated: The Shadoks do not know love;
nastiness, ignorance and stupidity satisfied them.
5. THE GIBIS :
“The Gibis” were small very nice animals with a small hat on the head to be able to say
hello.
And they were very, very intelligent.
When a Gibi thought of something of a little complicated, hop! It put that into its hat, that
will go automatically in the other hats and the Gibis started to reflect together without the
need to explain to themselves”. (Jacques Rouxel).
A formed duet of the vocalist Catherine Jauniaux and the composer and maker of
sounds eRikm will interpret the Gibis.
The musical rehearsals will come in a variety of sessions, within the framework of a
series of workshops distributed over one year during which they will improvise according
to materials stemming from the original soundtrack of Robert Cohen-Solal.
ERikm will be charged to catalyze and write a musical partition starting from these
improvisations.
6. THE GEGENE-INSECT:
An actor-dancer will interpret the role of “the Gégène-Insect”.
He dances the loneliness of the last man on earth. When he does not dance any more,
he shouts. And when he does not have any more the strength to shout, he cries.
7.
•
SOME PRINCIPLES :
«The Gabuzomeuse language» :
“The Shadoks language is incomprehensible. The words are polysemous and can all
mean about anything, which makes it possible to each Shadok to use any words with the
certainty that its interlocutor will understand something which will suit him” (Jacques
Rouxel).
We already said it, “the Gabuzomeuse language” is made up of the four elements GABU-ZO-MEU whose combinations make it possible to the Shadoks to count and to form
words.
From these Cartesian principles, the actors will invent their own text, according to their
own logic. This work of appropriation will give ways to improbable dialogs interpreted
with obviousness, conviction and natural strength.
Let us recall that the brain of a Shadok has only four boxes.
•
« The intelligence of the Gibis » :
The tale says that the Gibis are, contrary to the Shadoks, of a nice and merry nature.
We know that they owe their intelligence to their bowler hats. But, when a Gibi loses its
hat, it becomes insane.
Each crisis of insanity of a Gibi-musician will be sanctioned against by a murder. Its
congeneric will resort, by choice, to strangulation, suffocation, to a shot or cutting
weapon.
• The « Goulp »:
In Shadoks language, the « Goulp » means « punishment».
It is about a hole dug into the ground where one piles up those who are the more idiots
than the average. We intend not to deprive us of this opportunity.
8. SET, COSTUMES :
The set is frontal and is freely inspired by the Japanese traditional theatre.
That is to say an organization in L: within the distance, the narrator; at the right of the
stage, the Gibis; facing the audience, shifted to the stage left, the Shadoks; at the
centre, a vivarium out of Plexiglas, refuge of “the Gégène-Insect” with it inside, a chair, a
radio, one tow rope, an electric bulb, a litter, a straw mattress.
The accessories will be made out of pasteboard.
Some idiotic machineries will integrate the device (a slaps machine, intelligence pumps,
talkative urinals,…).
The costumes will be of the worse taste.
Franck Dimech.
Franck DIMECH
Adaptation, stage direction, set and lighting
From 1992 to 2000, he directs the company LES FOULES DU
DEDANS and alternate with the productions of texts and of personal
projects around the works of Bernard Marie Koltès, Jean Luc
Lagarce, Herve Guibert, Edward Bond, August Strindberg and Anton
Chekhov.
In 2002, he creates the company LE THEATRE DE AJMER and is
devoted exclusively to the production of text of which the triptych “Variations sur l’amour: a
trilogy of the language” made up of the Exchange by Paul Claudel, Quartett by Heiner Muller
and Pelléas and Mélisande by Maurice Maeterlinck.
Award-winner in 2001 and 2006 of an AFAA grant “Villa Médicis Hors les Murs”, he develops
bonds and exchanges with places and artists in the People's Republic of China, in Taiwan and
Japan where he becomes acquainted with the author and director Hirata Oriza of which he will
make, in 2007, with the National theatre of Marseilles “la Criée” the first French production of the
play “People of Seoul 1919”.
Since 2009, he is devoted to the production of texts taken from the European repertoire
assembled in foreign languages, in particular “the Exchange” by Paul Claudel in Tokyo with the
Japanese company SEINENDAN (2009), “Jumel” by Fabrice Dupuy in Taiwan (2010) and
“Woyzeck” by Georg Büchner, performance created in Taiwan and toured in France and China
(2011 and 2012).
In 2012, he is invited as foreign artist by the National Academy of Taiwan to come to teach and
direct the play “Preparadise Sorry Now” by Rainer Werner Fassbinder. He recently directed a
French version of “Woyzeck” by Georg Büchner with the theatre students of the University of
Aix-Marseilles.
In 2014, he will be the guest of the International Festival of Taipei and will carry out with the
National Theatre of Taiwan the project “Les Ecorchés”, diptych made up of “La dispute” by
Marivaux and “Manque” by Sarah Kane.
Didier da SILVA
Adaptation
Author to date of three novels -Hoffmann à Tokyo-, published by
Naive in 2007, Treize mille jours moins un and L’Automne Zéro
Neuf, published by LaureLi/Léo Scheer in 2008 and 2011 - and of
a story, Une petite forme, published at P.O.L in 2011 with
drawings by François Matton.
All these texts are largely autobiographical.
When he does not write, he plays the piano.
He occasionally collaborates with directors François-Michel Pesenti and Franck Dimech.
Didier Da Silva was 2011 award-winner for the assistance to the writing of the CNL for the
project “Récit du Promeneur Nocturne”.
The Gibis
ERikm
Composer
Since 1992, eRikm extends his field of artistic experimentation on
the international scenes.
Attentive to hold on to the fusion between thought, instinct and
sensitivity, he dares the simultaneity of practices and the setting in
tension of various modes of composition, in and with all languages.
Since his first experiment as a guitarist as far as his plastic and
visuals researches, he takes the chance to escape to any attempt
of hasty categorisation.
Very quickly regarded as a turntables virtuoso and of sound arts (1996), eRikm crosses the
world-systems known as “independents”, “institutional” and the territories (France- International).
Because he plays at all the opposites in the approach of improvisation, this gesture comes in at
the top of the highest expressions of intensity, betting at the same time on feeling and
understanding, joke and gravity, instinct and anticipation. His works would then stress out the
intimacy and the politic, the popular one and the scholar, but without demonstration, rather
starting from short-circuits, of materials (de)generated live -in reference to noise-; as in many
ways of seizing each moment from life.
In the course of time, the meetings and collaborations are naturally impulse with audiences and
temperaments: Luc Ferrari, Christian Marclay, Akosh S, Mathilde Monnier, Bernard Stiegler,
Fm Einheit. .
Catherine JAUNIAUX
Musician
Often described like “the woman-orchestra” or “the human
sampler”, Catherine Jauniaux is one of the best kept secret of the
universe of improvised music.
She worked with an impressive list of outstanding figures of the
“impro” scene, of cinema and rock'n'roll of avant-garde, dance, of
which in particular: Fred Frith, Ken Jacobs, Tom Cora, Marc Ribot,
Zeena Parkins, Ikue Mori, Louis Sclavis, Barre Philips, Sophie
Agnel, ErikM, Ned Rothenberg, François Verret, David Moss,
Aksak Maboul…
Her performances mix seriousness and humour, sound explorations and emotions, abstractions
and melodies. She is often inspired by traditional music’s (real or imaginary) of the whole world.
The Shadoks
Pascal FARRE
Actor
Philosophy Graduate, his career path as an actor is to date marked
out of about forty theatrical creations which will have led him to
collaborate among others: Mathieu Cipriani, Laurent De Richemond,
Eva Doumbia, Yves Fravéga, Christelle Harbonn, François-Michel
Pesenti, Anne Marina Pleis and Olivier Saccomano.
He also worked for the cinema and television under the direction of
José Alcala, Lea Fehner, Eric Rochant and Brigitte Rouan.
In counterpoint with his actor’s work, Pascal Farré carried out onto the stage, several personal
projects before founding in 2005, with Ghislaine Herbéra, Le Théâtre NuN.
After “Les Boues” by Didier da Silva and “Sauvés” by Edward Bond, he will start with “Shadoks
forever” his third collaboration with Franck Dimech.
Olivier HOREAU
Actor
Out of the National Theatre of Chaillot, he played for the theatre, in
particular in Love’s Labour’s Lost by Shakespeare directed by Andrzej
Seweryn, Frégoli directed by Jerome Savary and Ubu King staged by
Roland Topor.
For fifteen years, he has worked with the Company Llevantina which one
Marie-Jose Malis directs: Sophocle’s Oedipus (2005), Enter the ghost
according to Pasolini (2007), Le Prince de Homburg by Kleist (2009), On ne sait comment by
Pirandello (2011) this puts rhythm to the course of creations and experiments with Marie-Jose
Malis.
He also regularly works for the Company “LesTravailleurs de la Nuit” directed by Frederic
Poinceau and the “Théâtre Cazaril” directed by Antoine Caubet.
Peggy PENEAU
Actress
Trained within the Academy and the Studio Theatre of the CRDC in
Nantes, she joins in 2004 the Diphthong Company in Marseilles, under
the direction of Hubert Colas as an actress (“Marriage” by Witold
Gombrowicz, “Purifiés” by Sarah Kane…) and as assistant to the
production.
From then on, she multiplies theatre’s experiments with directors such
as: Pierre Laneyrie, Alain Béhar, Franck Dimech (Gens de Seoul 1919 by Oriza Hirata),
Christophe Chave, Christelle Harbonn, as well as Laurent de Richemond, Jonathan Bidot and
with the Nantes collective Moquette Rurale.
She also takes part in radio broadcasted fictions on France Culture and more recently, with
televised series.
Sandrine ROMMEL
Actress
Trained within the National Academy of Region of Lille from 1986 to
1989, she works in particular with Philippe Minyana and François
Rancillac.
Later she will carry on her training within the framework of professional
training courses among others: Adel Hakim, Elizabeth Chailloux, Alain
Olivier, Daniel Girard, Stéphanie Loïk, François-Michel Pesenti,
Vincent Rouche, Jean-Louis Benoit, Frederic Belier-Garcia and Marie
Vayssière.
She settles in Marseilles where she plays under the direction of Marie-Jose Malis, Franck
Dimech, Frederic Poinceau and Alexandra Tombelain.
In addition, Sandrine Rommel takes part in several feature length films under the direction of
Paul Vecchiali, Serge Le Peron, Angela Konrad and Philippe Grandrieux.
The narrator /The Gégène-insect
Laurent de RICHEMOND Actor and Performer In 1991 he registered in Performing arts at the University of
Aix-en-Provence. Graduate in 1993 by a DEUST Theatre.
Thereafter he works regularly as an interpreter with various
directors in Marseilles and its area: François-Michel Pesenti,
Hubert Colas, Danielle Bré, Agnes Del Amo, Laurence Janer
He also contributes to the emergence of new companies while committing himself with directors
of his generation: Frank Dimech, Frederic Poinceau, Gaëtan Vandeplas, Stephan Arcas, Bastien
Paquier.
Since 2004, he directs the Company SOLEIL VERT with which he is mobilized to think artistic
creation beyond the divided genre’s (theatre, performances, dance, exhibitions, video, and
writings). Among his creations one will quote La Voix Souterraine according to “Les carnets du
sous-sol” by Dostoïevski, Mon cops est nul et Les Larmes Rentrées according to “Mars” by Fritz
Zorn.
Sylvain FAYE
Set decorator and lighting
Trained as a Stone-cutter. Between 1996 and 1999 he specializes in
sculpture, and takes part in the restoration of the frontages of the
Louvre Museum.
Graduate of the Montpellier School of fine Arts in 1997, he settles in
Marseilles in 1999 and collaborates as a set decorator with many
directors.
In 2007, he carries out the stage set for the Wagner’sTétralogie
production by Stephan Braunshweig at the Aix-en-Provence Festival.
Since 2008, he lives in Berlin and carries out metal works for the art performances of the Danish
visual artist Olafur Eliasson.
Since 2008, he works regularly with Franck Dimech as a set decorator and lighting engineer.
Among the performances carried out, one can in particular quote in 2008 “Sur la Route
d’Oklahoma” according to “Amerika” by Franz Kafka, in 2009 “Jumel” by Fabrice Dupuy and
“l’Echange” by Paul Claudel.
Chantal ROUSSEAU
Costumes
After having acquired a costumes designer-Director’s skills for live performance, Chantal
Rousseau directs her work around two axes:
- Textile research: antique textiles, dyes, patinas, etc…
- Support to the director throughout creation, that is, of theatre, contemporary dance or circus,
baroque or modern.
She works in particular with La Fabrique à theatre and Jean-Denis Monory, the theatre
Toujours à l’horizon / La Rochelle, Catherine Boskowitz or l’Emballage theatre, the Tchekpo
Dance Company in Germany, Régine Chopinot / CCN La Rochelle, the Theatre des Amandiers
/ Nanterre, Cécile Roussat and the Poème harmonique, Jean-Claude Cottillard.
Ghislaine HERBERA
Props
Graduate of Marseilles School of fine Arts (DNSEP) and of the University
of Provence (Theatrical Studies Degree), she creates in 2005, with Pascal
Farré, the company the Theatre NuN where she intervenes as stage
director, stage designer and costumer.
She frequently works with directors, among which one can quote Danielle
Bré, Fabrice Dupuy, Mathieu Cipriani, Nicolas Saelens, Clyde Chabot,
Christelle Harbonn and Franck Dimech.
In parallel to her theatrical activity, Ghislaine Herbéra expresses herself in the books which she
writes and draws.
Her first album, Monsieur Cents Têtes, published with the MeMo editions, was rewarded by the
Price for the first album Montreuil 2010 and the Price of Bologna Opéra Prima, within the
framework of the International Exhibition of children's book of Bologna 2011.
In 2011, she publishes Ma mère est une femme à barbe (text by Raphaële Frier) with the
Frimousse editions, Le livre rouge with the Didier Jeunesse editions, La poupée cacahuète with
the MeMo editions and Histoire de la roue qui a inventé l'homme (text by Benoit Richter) with the
MeMo editions.