ORDET - CDN Orléans


ORDET
(THE
WORD)
Kaj
Munk
Directed
by
Arthur
Nauzyciel
Translated
and
adapted
by
Marie
Darrieussecq
and
Arthur
Nauzyciel
PRODUCTION
©
Frédéric
Nauczyciel
CENTRE
DRAMATIQUE
NATIONAL
ORLEANS/LOIRET/CENTRE
Direction
Arthur
Nauzyciel
Théâtre
d’Orléans,
Bd
Pierre
Ségelle,
45000
Orléans
Tel
:
+
33
(0)
2
38
62
15
55
Sophie
Mercier
mercier@cdn‐orleans.com
Emilie
Leroy
production@cdn‐orleans.com
ORDET
was
created
at
the
Avignon
Festival
2008
(Cloître
des
Carmes,
5‐15
July
08)
TOUR
2008
:
Centre
Dramatique
National
Orléans/Loiret/Centre,
Maison
de
la
Culture
de
Bourges,
Comédie
de
Clermont‐Ferrand,
CDDB‐
théâtre
de
Lorient,
Théâtre
de
Caen
(Festival
les
Boréales
in
Normandy),
Les
Gémeaux
Scène
Nationale,
Sceaux
(Paris).
Press:
Nathalie
Gasser
:
+33
(0)6
07
78
06
10
[email protected]
THE
SHOW
WAS
REPRISED
WITHIN
THE
FESTIVAL
D’AUTOMNE
A
PARIS
2009
Théâtre
du
Rond‐Point
From
September
16
to
October
10
ORDET
(THE
WORD)
by
Kaj
Munk
Directed
by
Arthur
Nauzyciel
Translated
and
adapted
by
Marie
Darrieussecq
and
Arthur
Nauzyciel
Scenic
design
by
Eric
Vigner
Assisted
by
Jérémie
Duchier
Music
composed
by
Marcel
Pérès
Costumes
Designer
José
Lévy
Assisted
by
Frédérick
Denis
and
Stéphanie
Croibien
Sound
Design
by
Xavier
Jacquot
Lighting
Design
by
Joël
Hourbeigt
Choreography
by
Damien
Jalet
Rehearsal
Diary
by
Denis
Lachaud
Literary
Consultant
Vincent
Rafis
Cast
Pascal
Greggory
–
Mikkel
Borgen,
père
Jean‐Marie
Winling
–
Peter
Skraedder
Catherine
Vuillez
–
Inger
Borgen
Christine
Vézinet
–
Kristine
Skraedder
Pierre
Baux
–
Pasteur
Bandbul
Xavier
Gallais
–
Johannes
Borgen
Benoit
Giros
–
Docteur
Houen
Frédéric
Pierrot
–
Mikkel
Borgen,
fils
Laure
Roldan
de
Montaud
–
Anne
Skraedder
Marc
Toupence
–
Anders
Borgen
Julia
Camps
De
Medeiros
or
Marie
Conort
or
Loriane
Conort
–
Maren
Borgen
And
the
Ensemble
Organum
(Mathilde
Daudy,
Antoine
Sicot,
Marcel
Pérès
or
Frédéric
Tavernier)
PRODUCTION
Centre
Dramatique
National
Orléans/Loiret/Centre,
Festival
d’Avignon,
CDDB‐Théâtre
de
Lorient
/Centre
Dramatique
National,
Maison
de
la
Culture
de
Bourges,
Compagnie
41751.
With
the
support
of
Région
Centre,
Nouveau
théâtre
de
Montreuil/Centre
Dramatique
National,
Scène
Nationale
d’Orléans.
With
the
artistic
participation
of
the
Jeune
Théâtre
National.
The
set
has
been
constructed
by
the
Maison
de
la
Culture
de
Bourges.
PRESS
CLIPPINGS
“Ordet”
sweeps
away
the
Avignon
Festival.
With
Ordet,
the
Avignon
Festival
has
encountered
one
of
those
moments
that
write
its
legend.
[…]
An
undeniable
success,
and
excellent
performances
all
across
the
board,
for
the
ages.
Fabienne
Darge,
Le
Monde,
July
11,
2008
A
miracle
powerful
enough
to
make
ice
melt.
Marie‐José
Sirach,
L’Humanité,
July
7,
2008
Avignon
over
the
moon.
The
miracle
came
from
Ordet
(The
Word):
(...)
Arthur
Nauzyciel
places
the
Danish
drama
in
a
theatre
of
utmost
triumph,
with
the
extraordinary
Pascal
Greggory
performing,
the
flawless
costumes
designed
by
José
Lévy,
down
to
Marie
Darrieussecq’s
translation,
blending
with
exquisite
precision
the
trivial
and
the
sacred,
all
the
protagonists
in
this
production
contribute
to
producing
sense
and
sensation.
On
stage,
the
inventiveness
never
slackens,
each
new
scene
rebounding
with
subtlety
and
humor.
Fabienne
Arvers
and
Patrick
Sourd,
Les
Inrockuptibles,
July
22,
2008.
A
real
gem.
Ordet,
by
Kaj
Munk,
has,
after
Carl
Dreyer,
inspired
Arthur
Nauzyciel.
Frédéric
Ferney,
Le
Point,
July
17,
2008.
The
best
is
Ordet,
by
the
Danish
playwright
Kaj
Munk,
–very
well
–
translated
by
Marie
Darrieussecq
and
directed
by
Arthur
Nauzyciel.
Jacques
Julliard,
Le
Nouvel
Observateur,
August
2008.
Arthur
Nauzyciel’s
production
honors
the
spiritual
might
of
Kaj
Munk’s
script,
brought
to
fame
by
Dreyer.
Bruno
Bouvet,
La
Croix,
July
9,
2008.
Sublime
“Ordet”
One
had
to
be
bold
to
bring
back
to
stage
the
play
written
by
Kaj
Munk
(1898‐1944)
which
inspired
Dreyer’s
sublime
movie.
Arthur
Nauzyciel
succeeded
with
the
help
of
Marie
Darrieusssecq’s
very
modern
translation
and
actors
who
strongly
embody
this
story
about
faith
in
the
Word
and
faith
in
love.
Fabienne
Darge,
Le
Monde
magazine,
September
25,
2009
Ordet
(The
Word)
Arthur
Nauzyciel
revives
Ordet
(The
Word),
the
play
by
Danish
playright
Kaj
Munk
which
was
immortalized
by
Carl
Dreyer.
An
ambitious
theatrical
deed,
a
very
singular
achievement.
Manuel
Piolat
Soleymat,
La
Terrasse,
September
2009
“Where
I
go
you
cannot
go”
ORDET
We
cannot
act
as
if
we
were
unbelievers.
From
now
on
we
have
to
choose
our
faith.
Salvation
will
come
out
of
writing
and
language.
If
we
found
language
again,
we
will
be
able
to
resist.
Then
by
reconquering
the
former
so
as
not
to
lose
it.
Reconquering
language,
speaking
to
one
another
again
and
reconquering
the
other.
Finally,
the
world
needs
to
be
reconquered.
It
is
pointless
to
fantasize
about
what
is
beyond
the
world,
the
Earth,
man.
Man
is
not
the
centre
of
the
world,
he
is
the
end
of
the
world.
The
first
way
to
love
is
the
Word...
Paul
Virilio
CYBERMONDE,
LA
POLITIQUE
DU
PIRE
(CYBERWORLD,
POLITICS
OF
THE
WORST),
1996
ORDET
means
“the
Word”,
“speech”.
ORDET
(THE
WORD)
is
the
story
of
a
miracle.
Two
religious
communities
with
opposite
beliefs
are
confronted
with
death,
then
resurrection.
The
play
was
adapted
for
the
screen
by
Dreyer
in
1954.
It
has
never
been
performed
in
France.
This
project
has
been
with
me
ever
since
the
rehearsals
for
my
first
show.
While
working
on
LE
MALADE
IMAGINAIRE
OU
LE
SILENCE
DE
MOLIÈRE
(THE
IMAGINARY
INVALID,
OR
MOLIÈRE’S
SILENCE),
I
had
written
the
following
text
for
the
program
in
1999:
“My
story
begins
in
a
place
bereft
of
men,
of
language,
of
names.
By
teaching
me
how
to
count
using
the
digits
of
the
number
tattooed
on
his
forearm,
my
grandfather
inoculated
Auschwitz
into
me.
I
learned
digits
before
letters.
These
indelible
digits
were
his
name.
Behind
the
letters
of
my
name
lies
the
story
of
my
family’s
suffering
as
well
as
millions
of
others’.
For
years,
sometimes
for
the
rest
of
their
lives,
survivors
failed
to
speak.
When
my
grandfather
spoke
to
me,
I
tried
to
understand
his
sentences
made
of
foreign
words,
fragments
of
another,
lost,
soon‐to‐be‐
forgotten
language.
A
language
from
before
the
disaster,
that
will
never
really
come
together
again.
So
most
of
the
time,
he
kept
silent.
My
father
on
the
other
hand
told
me
the
story
his
father
had
never
been
able
to
tell
him,
a
story
he
had
been
told
by
others.
Telling
me
this
story
made
him
a
father.
Telling
it
and
never
forgetting
would
make
me
a
man.”
Rereading
this
text
today,
I
understand
to
what
extent
this
story
led
me
to
work
in
the
theatre.
ORDET
(THE
WORD)
is
not
a
“religious”
play.
It
is
a
metaphysical
thriller.
An
experience.
An
in‐between
world.
It
is
a
strange
theatrical
artifact,
which
raises
the
question
of
faith,
the
power
of
life,
the
relationship
between
the
individual
and
the
group,
transmission
and
transcendence.
Like
its
author,
paradoxical
and
contradictory,
ORDET
(THE
WORD)
does
not
assert
anything
but
raises
doubts,
unravels
softly,
oozes
confusion.
And
eventually
wrestles
out
of
your
resisting
body
a
deep
emotion.
If
ORDET
(THE
WORD)
is
so
overwhelming,
it
is
because
in
it
you
gather
to
fight
death
and
extremism,
because
you
do
whatever
you
can
with
your
human
means,
and
at
the
moment
when
all
seems
to
be
lost,
just
then,
something
happens:
a
miracle,
a
dream,
something
impossible
to
name.
And
that
would
at
the
same
time
be
a
sign
that
God
exists,
show
absolute
trust
in
man
and
his
capacity
to
love
and
create
with
others,
point
out
the
artist’s
privileged
position
in
that
he
can
repair
the
injustice
in
life
before
death
and
turn
the
theatre
into
a
place
where
everything
is
possible.
Therefore,
the
miracle
does
not
only
question
our
relationship
to
God.
If
the
miracle
is
theatrical,
it
reminds
us
of
its
own
impossibility
to
exist
in
real
life
and
brings
us
back
to
our
condition
as
mortals.
We
know
there
is
no
such
thing
as
miracles
on
this
earth;
we
have
to
accept
our
visible
world
and
our
finite
time
as
a
reality,
and
attempt
to
be
happy
here
and
now.
How
to
go
on
believing?
In
whom
and
what?
These
questions
remain
equally
troubling.
“Father,
why
hast
thou
forsaken
me?”
can
be
read
in
the
Bible.
I
also
inherited
that
doubt,
that
disillusionment,
because
it
is
very
difficult
to
go
on
looking
for
proof
of
God’s
existence
in
crematory
ovens.
And
if
THE
IMAGINARY
INVALID
ended
on:
“Oh,
my
God
they
will
let
me
die
here...”,
ORDET
(THE
WORD)
closes
with:
“
Life!
Life!
Life!”
Arthur
Nauzyciel,
Sept.
2005
The
dialogue
with
the
dead
ought
not
to
cease,
for
as
long
as
they
have
not
given
up
the
piece
of
the
future
buried
with
them.
Heiner
Müller,
FAUTES
D’IMPRESSION
ABOUT
THE
TRANSLATION
The
play
had
to
be
translated
again,
its
language
recaptured.
For
that
I
wanted
to
work
with
an
author
of
my
own
generation,
with
whom
I
could
share
a
universe;
who
had
a
common
interest
in
snow,
ice,
ghosts,
what
is
intimate
and
family
stories,
traveling
and
the
end
of
the
world,
visible
and
invisible.
I
was
looking
for
someone
who
had
a
sense
of
rhythm,
of
concreteness
and
language,
and
a
spirit
of
contradiction.
I
was
looking
for
a
writer
who
had
never
worked
for
the
theatre.
I
read
White
and
met
Marie
Darrieussecq.
A
fortunate
intuition.
Something
came
out
of
that.
She
made
the
play
hers.
Since
then
we
have
had
other
projects
together:
Marie
is
writing
her
first
play
for
me.
Arthur
Nauzyciel
Being
associated
with
Arthur
Nauzyciel’s
work
enables
me
to
write
in
a
more
“concrete”
manner,
knowing
that
my
sentences
will
end
up
in
mouths,
bodies,
on
a
stage...You
do
not
write
the
same
way
when
you
are
aware
of
this
imminence...It
fills
me
with
joy
and
fear...
What
I
saw
of
Arthur’s
work
and
what
I
“intuition”
of
his
way
to
go
is
enough.
He
knows
words
have
a
meaning
and
this
meaning
has
to
be
played
literally,
yet
played
around
with.
He
knows
words
have
to
be
taken
at
face
value
but
that
is
precisely
what
gives
him
great
freedom
toward
the
text.
Arthur
is
not
challenged
by
the
text,
he
is
not
respectful
of
it
in
terms
of
adhering
to
it,
but
the
text
is
not
for
him
a
mere
pretext
either.
I
feel
comfortable
in
the
way
he
balances
it
out...
Marie
Darrieussecq
`
Letter
of
Munk
to
his
mother
Mother,
you
should
have
seen
this
thirty‐year
old
young
woman,
lying
with
her
son
in
her
arm,
this
little
boy
pressed
against
her
cold
and
stiff
breast.
And
her
old
father,
a
harsh
and
stout
fisherman,
Poul
Knak,
was
standing
against
the
wall
on
one
side
of
the
bed,
while
his
wife,
the
young
woman’s
mother,
was
standing
on
the
other
side;
the
old
fisherman
stood
still,
gazing
intently
at
his
daughter’s
dead
face,
remaining
still
for
hours
on
end
–
the
only
part
that
moved
was
his
chin‐
oh,
mother,
if
you
had
seen
that
chin.
And
her
husband
was
crying,
crying,
crying
so
loud
his
knees
were
shaking,
whereas
his
two
young
daughters
(aged
8
and
5)
ran
around
without
understanding
anything.
And
I
was
told
that
the
married
couple
was
eagerly
looking
forward
to
having
another
child,
they
probably
thought
it
would
be
a
boy,
and
that
is
exactly
what
happened.
For
the
delivery
had
gone
very
well.
The
doctor
had
already
taken
a
seat
to
drink
coffee
when
a
hemorrhage
suddenly
occurred.
And
she
lost
all
her
blood
with
the
doctor
looking
without
being
able
to
help...Kristen
Madsen,
that
is
the
name
of
the
man
who
was
widowed,
has
a
brother
who
lives
on
a
small
farm
ten
minutes
away
from
his
home;
he
lost
his
wife
a
couple
of
years
ago.
It
was
painful
to
watch
him
today
go
again
through
the
grief
he
suffered
a
few
years
ago.
But
the
worst
came
when
they
were
about
to
close
the
lid:
first,
her
father
patted
her
cheek
and
hand,
then
her
mother
stroked
her
breast
and
suddenly,
Kre
Madsen
threw
himself
onto
the
floor
and
kissed
the
corpse
–
oh,
dear
God!
He
kissed
the
corpse,
on
the
cheek.
Then
the
little
girls
were
brought
in
to
pat
their
mother’s
forehead,
but
they
understood
nothing
(...)
But
I
will
never
forget
her,
lying
with
her
son
in
her
arm,
her
old
father
against
the
wall
on
one
side
and
her
old
mother
against
the
opposite
wall,
and
her
husband
resting
here
and
there,
sobbing.
And
I
will
never
forget
the
moment
when
he
kissed
the
corpse.
st
Kaj
Munk,
October,
31 ,
1925.
I
was
all
the
more
happy
to
shoot
Ordet
as
I
felt
very
close
to
Kaj
Munk’s
ideas.
He
always
spoke
remarkably
about
love.
I
mean:
as
well
about
love
in
general,
between
people,
as
love
within
marriage,
real
marriage.
To
Kaj
Munk,
love
was
not
only
nice
and
pretty
thoughts
that
could
unite
a
man
and
a
woman,
but
a
much
deeper
bond
as
well.
And
to
him
there
was
no
difference
between
sacred
and
carnal
love.
Let
us
look
at
Ordet.
The
father
says:
“She
is
dead…
She
is
no
longer
with
us.
She
is
in
heaven…”
and
the
son
answers:
“True,
but
I
also
loved
her
body…”
What
is
beautiful
in
Kaj
Munk’s
work
is
his
understanding
that
God
did
not
separate
the
two
kinds
of
love.
That
is
why
he
did
not
separate
them
either.
But
this
brand
of
Christianity
is
confronted
with
another,
a
somber
and
fanatical
kind
of
faith.
Carl
T.
Dreyer
Biographical
notes
KAJ
MUNK
A
peculiar,
complex
man,
celebrated
as
one
of
the
greatest
poets
in
Denmark,
Munk
had
a
singular
fate.
From
1924
to
his
death
twenty
years
later
at
the
age
of
45,
he
served
as
a
preacher
in
the
same
small,
rural
parish
on
the
western
coast
of
Jutland,
Vedersö.
On
the
side,
he
wrote
plays
performed
not
only
at
the
Royal
Theatre
of
Copenhagen
but
also
on
all
the
great
Scandinavian
stages.
He
also
drew
notice
for
his
newspaper
articles,
collections
of
poems,
radio
lectures
and
screenplays.
A
preacher
with
little
clerical
sense,
the
freedom
of
his
voice
and
writings
shocked.
He
stood
out,
defying
norms.
During
the
1930s
he
sponsored
dictatorships,
singing
the
praise
of
Mussolini
and
later
Hitler.
Yet
at
the
end
of
the
same
decade,
as
Munk
witnessed
the
Nazi
persecutions
of
the
Jews,
his
evangelical
sense
led
him
to
temper
his
enthusiasm.
After
April
1940
and
during
the
years
of
the
German
occupation
in
Denmark,
he
committed
himself
more
and
more
openly.
His
sermons,
preached
in
Vedersö
and
elsewhere,
made
him
a
pioneer
of
the
spiritual
Resistance.
So
much
so
that
one
night
in
January
1940
he
was
arrested
on
the
order
of
the
Gestapo.
A
few
hours
later,
Kaj
Munk
was
executed
and
left
in
a
ditch,
his
face
shattered
by
gunfire.
He
wrote
his
first
play
at
the
age
of
nineteen.
He
went
on
to
write
some
thirty
others.
He
wrote
about
the
Abyssinian
War,
the
rise
of
the
dictatorships,
Nazi
anti‐Semitism.
He
was
adept
at
creating
works
depicting
social,
ethical,
religious
conflicts
while
steering
clear
of
didacticism
and
renewing
Scandinavian
drama.
ORDET,
written
in
six
days,
is
a
drama
centered
on
a
fantastic,
improbable,
impossible
event:
a
miracle.
Death
became
a
part
of
Kaj
Munk’s
life
early
on…
He
was
only
a
year
old
when
his
father
died
suddenly.
His
mother
died
in
turn
when
he
was
all
of
five.
All
his
life,
he
tried
to
overcome
death
by
confronting
it.
In
his
memoirs,
he
reports
an
event
which
foreshadows
the
tragedy
at
work
in
ORDET:
While
still
a
child,
a
young
mason
he
knew
well,
married
and
the
father
of
a
young
daughter,
fell
seriously
ill.
Munk
resorted
to
prayer,
wishing
his
friend
to
recover.
Soon
after,
the
young
man
died.
He
was
placed
in
his
coffin
and
carried
to
the
cemetery.
Young
Kaj,
who
had
stayed
at
home,
was
not
worried.
It
was
inconceivable
to
him
that
God
would
fail
to
grant
his
prayer.
Peder
had
not
died
in
earnest,
he
was
going
to
wake
up
and
rise
out
of
his
tomb.
Once
the
funeral
was
over
and
his
adoptive
father
back
at
the
farm,
the
child
asked
questions:
has
anything
extraordinary
not
happened?
Did
Peder
stay
in
his
coffin?
And
the
father
started
laughing…
Munk
wrote
thirty‐five
years
later:
It
is
with
bitterness
that
I
told
myself:
as
a
poet,
you
will
breathe
life
into
the
dead
thanks
to
your
faith,
but
as
a
preacher,
you
cannot
even
grant
death
to
those
who
suffer…
Or
resurrect
them
either.
So
as
not
to
let
himself
be
overwhelmed
by
helplessness,
ORDET
makes
up
for
his
grief…
Arthur
Nauzyciel
Marie
Darrieussecq,
translation
and
adaptation
She
was
born
in
1969.
TRUISMES
(PIG
TALES),
her
first
published
novel,
came
out
in
1996
and
has
since
been
translated
into
forty‐three
languages.
She
subsequently
authored
NAISSANCE
DES
FANTÔMES
(MY
PHANTOM
HUSBAND),
LE
MAL
DE
MER
(UNDERCURRENTS),
PRÉCISIONS
SUR
LES
VAGUES
(BREATHING
UNDERWATER),
BREF
SÉJOUR
CHEZ
LES
VIVANTS
(A
BRIEF
STAY
WITH
THE
LIVING),
LE
BÉBÉ
(THE
BABY),
WHITE,
LE
PAYS
(THE
COUNTRY),
ZOO.
She
also
wrote
shorter
texts
for
Annette
Messager
and
Jürgen
Teller’s
catalogues,
and
a
tale
published
by
Editions
des
femmes/Antoinette
Fouque:
CLAIRE
DANS
LA
FORET
–
SUIVI
DE
PENTHESILEE,
PREMIER
COMBAT.
(CLAIRE
IN
THE
FOREST,
FOLLOWED
BY
PENTHESILEIA,
THE
FIRST
COMBAT)
The
translation
of
ORDET
(THE
WORD)
is
her
first
work
for
the
theatre.
A
staged
reading
of
her
latest
novel,
TOM
EST
MORT
(TOM
IS
DEAD),
was
directed
by
Arthur
Nauzyciel
at
the
2007
Avignon
Festival.
She
has
just
finished
writing
her
first
play
for
Arthur
Nauzyciel,
LE
MUSÉE
DE
LA
MER
(THE
SEA
MUSEUM),
that
he
created
in
2009
with
the
actors
of
the
National
Theatre
of
Iceland.
Since
June
07,
she’s
associated
artist
at
the
Centre
Dramatique
National
Orléans/Loiret/Centre.
After
studying
plastic
arts
and
film,
he
enrolled
at
the
school
of
the
Théâtre
National
de
Chaillot,
then
headed
by
Antoine
Vitez,
who
was
his
professor
from
1986
to
1989.
As
an
actor,
he
was
directed
by
Eric
Vigner,
Alain
Françon,
Jacques
Nichet,
Philippe
Clévenot,
Tsai
Ming
Liang.
He
directed
his
first
production
at
CDDB
‐
Théâtre
de
Lorient
in
1999,
LE
MALADE
IMAGINAIRE
OU
LE
SILENCE
DE
MOLIÈRE,
after
Molière
and
Giovanni
Macchia,
thereafter
regularly
reprised
in
France
and
abroad.
In
2003,
he
directed
HAPPY
DAYS
starring
Marilù
Marini,
performed
in
France
and
Buenos
Aires.
In
2004,
he
directed
PLACE
DES
HÉROS
(HELDENPLATZ),
marking
the
introduction
of
Thomas
Bernhard
into
the
Comédie‐Française
repertory.
In
2008,
he
directed
ORDET
(THE
WORD)
by
Kaj
Munk
for
the
Avignon
Festival
at
the
Cloître
des
Carmes
He
has
frequently
worked
in
the
United
States,
where
he
directed
Bernard‐Marie
Koltès’
BLACK
BATTLES
WITH
DOGS
(COMBAT
DE
NÈGRE
ET
DE
CHIENS)
(2001)
and
ROBERTO
ZUCCO
in
Atlanta,
and
Mike
Leigh’s
ABIGAIL’S
PARTY
(2007)
and
Shakespeare’s
JULIUS
CAESAR
(2008)
in
Boston.
Invited
in
Iceland
since
1997,
he
presented
there
in
particular
Samuel
Beckett’s
THE
IMAGE,
with
dancer
Damien
Jalet
and
Anne
Brochet,
then
replaced
by
Lou
Doillon,
and
he
premiered
there
Marie
Darrieussecq’s
LE
MUSÉE
DE
LA
MER
(THE
SEA
MUSEUM)
in
2009.
He
has
been
invited
by
Franco
Quadri
to
direct
a
project
with
young
European
actors
within
L’Ecole
des
Maîtres
:
he
staged
A
DOLL’S
HOUSE
by
Ibsen,
performed
in
Liège,
Reims,
Rome
and
Lisbon
at
the
fall
2009.
He
was
a
Villa
Medicis
Hors‐les‐Murs
scholar.
Since
June
1,
2007,
Arthur
Nauzyciel
has
been
the
director
of
the
Centre
Dramatique
National
Orléans/Loiret/Centre.
Within
the
Festival
d’Automne
in
Paris
2009
Arthur
Nauzyciel
has
been
invited
by
the
Festival
d’Automne
in
Paris
to
present
his
last
two
creations
:
ORDET
(The
Word)
and
JULIUS
CAESAR
by
Shakespeare
was
created
at
the
American
Repertory
Theatre
in
Boston
in
Feb.
2008.
These
two
plays
deal
with
the
question
of
the
word
and
form
a
diptych.
Interview
By
Eve
Beauvallet
for
the
Festival
d’Automne
in
Paris
When
the
American
Repertory
Theatre
of
Boston
offered
you
to
come
and
direct
JULIUS
CAESAR,
you
had
already
been
working
on
the
ORDET
project
since
2005.
Where
do
these
two
productions
fit
in
in
your
career?
What
interests
me
in
the
theatre
is
being
able
to
reinvent
each
time
a
new
working
process
based
on
a
specific
project.
The
context
of
production,
be
it
intimate,
political
or
social,
is
for
me
a
powerful
driving
force.
It
pertains
to
a
piece
of
fiction,
as
if
it
became
the
very
subject
of
the
production.
The
American
Repertory
Theatre
of
Boston,
where
I
had
already
presented
ABIGAIL’S
PARTY,
offered
me
in
2007
to
direct
JULIUS
CAESAR
in
February
2008,
at
the
very
same
time
when
the
ORDET
project
was
being
postponed
for
the
second
time
on
budgetary
grounds.
The
Avignon
festival
had
invited
me
to
direct
ORDET
in
2005,
in
the
Cour
d’Honneur
of
the
Papal
Palace.
At
the
time,
I
was
working
with
my
company,
without
any
subsidies,
and
we
were
having
difficulties
putting
the
production
together.
For
three
years,
I
could
not
do
anything
in
France.
I
took
advantage
of
that
time
to
take
on
parallel
projects,
directing
for
example
Beckett’s
THE
IMAGE
with
dancer
Damien
Jalet
and
actress
Anne
Brochet.
I
worked
with
a
choreographer,
plastic
artists.
I
developed
projects
abroad.
Then,
in
2007,
I
was
named
director
of
the
CDN
Orléans,
and
from
then
on
doors
opened.
These
experiences,
the
time
that
went
by
between
PLACE
DES
HÉROS
(HELDENPLATZ)
at
the
Comédie‐Française
in
2004
and
JULIUS
CAESAR,
enabled
me
to
get
closer
to
myself,
to
interrogate
why
I
was
doing
theatre
and
how
I
wanted
to
do
it.
The
underground
culture,
disco,
jazz,
film
and
dance
contributed
a
lot
to
my
growth,
and
I
reconnected
to
them
while
directing
this
production,
perhaps
also
because
I
was
away.
JULIUS
CAESAR
is
a
profoundly
desperate
play,
in
which
the
horrors
of
the
world
are
perceived
by
a
child
left
literally
voiceless.
I
unconsciously
projected
myself
unto
that
child,
and
it
may
be
why
the
show
is
replete
with
what
thrilled
me
when
I
was
that
age:
showing
Super‐8
movies,
building
puppets,
watching
the
Carpentier
variety
shows
or
TV
series.
I
was
still
riding
on
this
momentum
and
consciousness
when
I
started
work
on
ORDET
in
2008.
JULIUS
CAESAR
is
ORDET’s
matrix.
The
experience
of
these
two
shows
is
being
crystallized
in
my
latest
production,
LE
MUSÉE
DE
LA
MER
(THE
SEA
MUSEUM),
which
is
a
turning
point
for
me.
JULIUS
CAESAR,
as
well
as
ORDET,
are
plays
centered
on
the
question
of
speech
–
a
theatrical
theme
par
excellence.
Can
these
two
productions
then
be
read
as
a
diptych?
Coming
from
such
different
cultural
and
geographical
contexts,
it
is
unsettling
to
realize
how
much
the
two
productions
echo
each
other.
Like
the
two
faces
–
one
brighter,
one
darker
–,
of
the
same
mirror.
The
universes
of
JULIUS
CAESAR
and
ORDET
are
indeed
based
on
speech.
They
interrogate
the
power
of
transformation
and
creation
of
words.
JULIUS
CAESAR
is
about
using
words
to
manipulate,
ORDET
about
the
healing
power
of
words.
Words,
and
not
acts,
are
key.
They
can
create
a
reality
or
destroy
or
bring
back
to
life.
I
realized
in
retrospect
that
the
two
plays
dealt
both
with
speech
and
with
the
one
who
has
no
command
of
it:
the
child.
This
figure,
which
has
a
singular
function
in
both
productions,
is
also
connected
to
the
motif
of
the
double,
of
a
dream‐like
quality,
of
a
world
turned
upside
down
–
themes
on
which
my
work
has
been
based
for
years.
JULIUS
CAESAR
evolves
in
a
world
of
dead
souls,
specters
and
ghosts.
It
is
a
trait
shared
by
ORDET,
but
Kaj
Munk’s
script
could
be
its
vital
counterpart:
the
characters
leave
the
realm
of
survivors
for
the
world
of
the
living.
In
the
final
ceremony
in
JULIUS
CAESAR,
Brutus
is
met
with
death,
whereas
ORDET
ends
on
these
words:
“life,
life”.
Each
set
is
the
double
of
an
image,
plastered
onto
the
back‐wall:
a
photograph
of
the
empty
house
in
JULIUS
CAESAR,
one
of
an
Icelandic
landscape
in
ORDET.
Without
mentioning
the
working
community
I
established
by
spending
a
long
time
around
the
table
studying
the
script,
the
use
of
choreography
or
live
music,
which
the
two
productions
have
in
common.
They
are,
I
think,
my
most
intimate
projects,
in
the
sense
that
through
them,
I
have
expressed
not
a
style
but
a
very
personal
working
process.
JULIUS
CAESAR
interrogates
the
connections
between
rhetoric
and
politics.
The
project
was
commissioned
at
a
turning
point
in
American
politics,
the
primaries
between
Barack
Obama
and
Hillary
Clinton.
In
what
way
did
you
approach
this
analogy?
The
connection
between
the
script
and
the
ongoing
American
election
was
of
course
obvious.
The
play
deals
with
a
Republic
in
danger,
and
the
United
States
were
coming
out
of
eight
years
of
Bush
presidency.
Yet
it
would
have
been
too
simplistic
to
only
deal
with
how
disastrous
this
presidential
term
turned
out,
which
was
nonetheless
what
the
producers
expected.
I
had
to
find
a
wider,
more
metaphysical
angle.
JULIUS
CAESAR
deals
with
the
decline
of
a
world,
contains
a
collective
memory
of
human
fears
and
illusions.
It
is
in
a
way
a
sensitive,
political
manual
which
connects
us
with
the
Romans
and
Shakespeare
like
a
long
DNA
chain.
The
play
is
extremely
relevant
today,
because
it
evokes
a
condemned
society.
Not
that
ours
is
condemned,
but
it
is
in
danger.
What
have
we
invented
in
terms
of
politics
and
democracy
since
the
period
Shakespeare
depicts
in
the
play?
Like
Cassius
and
Brutus,
we
still
believe
that
democracy
is
the
best
system,
yet
it
remains
an
acceptable
but
fragile
compromise.
What
elements
convinced
you
to
offer
references
to
60s
America
in
general,
and
Kennedy
in
particular?
The
analogy
is
rooted
in
the
context
of
production.
I
wanted
to
stay
close
to
the
sensation
I
often
have
while
travelling
in
the
United
States,
namely
that
it
is
a
society
built
on
fiction.
And
not
the
other
way
round.
This
is
a
dominant
phenomenon;
take
for
instance
the
TV
series
24
which,
as
far
as
I
know,
prepared
the
American
population
for
the
image
of
a
black
president.
Boston,
where
the
American
Repertory
Theatre
is
located,
is
the
city
of
Kennedy.
He
was
the
first
president
whose
image
was
more
important
than
his
words.
Kennedy’s
assassination
sparked
a
national
disillusion
probably
similar
to
what
would
happen
if
Barack
Obama,
who
can
be
considered
the
first
president
of
the
multimedia
era,
were
to
die.
Caesar,
Kennedy
or
Obama
share
a
common
status
as
surfaces
of
collective
projection,
figures
which
strangely
capture
the
dream
of
a
new
world.
Then,
the
ART
was
built
in
1964,
at
a
time
of
intense,
artistic
effervescence,
and
the
forms
that
came
out
of
it
went
on
to
have
an
international
influence.
Its
architecture
dates
back
to
the
1960s,
but
the
configuration
of
the
house/stage
space
reproduces
the
semi‐circular,
ancient
model,
in
which
politics
and
the
theatre
meet
within
the
same
space.
I
developed
the
scenography
based
on
this
specificity.
Another
contextual
element
strongly
influenced
the
production,
an
element
which
has
to
do
with
the
very
story
of
the
ART
and
its
immediate
future.
Born
at
Yale
and
tied
to
Harvard,
the
ART
was
a
founding
place
for
modern
theatre,
and
its
programming
had
heretofore
been
immune
from
financial
concerns.
It
was
one
of
the
only
American
theatres
to
have
invited
foreign
directors
and
supported
the
work
of
Peter
Sellars
or
Bob
Wilson.
Robert
Woodruff
had
been
its
artistic
director
until
he
was
recently
dismissed
under
the
charges
of
“elitist
programming”.
The
production
bears
the
traces
of
this
recent
history,
which
reflects
a
loss
of
faith
in
art
and
a
time
entirely
invaded
by
pop
culture.
JULIUS
CAESAR,
written
just
before
HAMLET,
is
the
play
Shakespeare
picked
for
the
inauguration
of
the
Globe
Theatre
in
1599.
Strangely
enough,
it
is
the
play
which
will
bring
to
a
close
a
part
of
the
history
of
the
ART.
While
Julius
Caesar
is
considered
in
the
United
States
the
keystone
of
Shakespeare’s
work,
the
play
is
little
known
in
France.
How
do
you
account
for
this
difference
in
popularity?
Is
the
play
interpreted
differently
in
the
two
countries?
Like
many,
I
did
not
know
the
play,
but
I
knew
the
movie.
JULIUS
CAESAR
is
part
of
the
school
curriculum
of
every
American
boy
(the
girl
version
being
ROMEO
AND
JULIET).
The
play
fascinates
them
because
they
view
it
as
a
combat
play,
a
war
play.
Americans
turn
the
characters
in
JULIUS
CAESAR
into
superheroes;
yet
the
script
clearly
says
they
are
like
heroes
without
a
cause,
like
Akira
Kurosawa’s
Kagemusha,
these
samurais
who
have
lost
the
meaning
of
their
actions.
The
play
thus
opened
to
mixed,
polemical
reviews
in
the
United‐States.
But
there
are
other
reasons:
my
work
on
the
script
is
very
precise
and
so
pays
close
attention
to
versification
–
which
Americans
do
not
respect.
My
work
is
centered
on
language
which,
in
itself
alone,
allows
the
world
of
JULIUS
CAESAR
to
exist.
The
play
up
until
the
fifth
act
relies
on
systematic
off‐screen
events:
all
the
actions
happening
are
told
through
words.
It
is
always
about
people
coming
to
“tell”
their
dreams
and
omens.
It
is
the
interpretation
the
characters
give
to
these
words
that
influences
the
course
of
events.
The
acts
in
JULIUS
CAESAR
also
often
end
with
Brutus
telling
Lucius,
“sleep
again”,
“didst
thou
dream”,
as
if
Lucius
were
dreaming
or
witnessing
the
story.
When
everything
hinges
on
rhetoric,
the
sense
of
the
real
is
quickly
lost
in
the
play,
as
if
the
world
were
upside
down.
Maybe
Brutus
is
already
dead
without
knowing
it,
like
Bruce
Willis
in
THE
SIXTH
SENSE?
You
often
mention
the
idea
that
the
theatre
is
a
place
where
the
living
conjure
up
the
dead…
Marie
Darrieussecq
brought
to
my
attention
the
fact
that
there
is
a
dead
man
or
his
ghost
at
the
centre
of
each
of
my
shows!
My
theatre
resembles
a
funeral
ceremony.
The
characters
are
like
specters
haunting
the
living,
bearers
of
a
collective
memory.
Telling
a
story
is
akin
to
fighting
against
oblivion.
Theatre
interests
me
when
the
frontiers
between
two
usually
separate
worlds
(actors/spectators,
the
real/fiction,
the
dead/the
living)
disappear.
As
long
as,
in
the
theatre,
the
dead
rise
again,
it
is
as
if
the
experience
of
the
performance
were
a
way
to
defy
death,
a
celebration
of
life.
The
stage
is
a
crossroads
and
not
the
central
place
of
my
work.
I
like
off‐screen
shots,
subterranean
stories.
A
production
does
not
illustrate
a
theme,
it
materializes
an
intimate
stake.
From
this
perspective,
for
you
who
are
attached
to
the
idea
of
collective
memory,
how
do
you
approach
classic
texts?
In
JULIUS
CAESAR,
the
characters
project
themselves
into
a
future
in
which
their
acts
will
be
a
performance
for
others
to
watch,
in
which
they
will
be
the
spectators
of
their
own
past.
Whenever
I
am
confronted
with
a
classic
text,
I
feel
I
ought
to
direct
a
“memory
for
the
future”.
Like
a
witness
account
for
the
future
of
who
we
are
and
were.
Classics
are
like
the
Statue
of
Liberty
at
the
end
of
PLANET
OF
THE
APES.
They
survive
us.
We
are
just
passing
by.
They
are
“time
capsules”
from
a
distant
past,
which
still
accompany
us
today
and
for
centuries
to
come.
I
like
the
image
of
these
stars
whose
light
reach
us
long
after
their
death,
or
else
that
of
the
megalith
in
Stanley
Kubrick’s
2001,
A
SPACE
ODYSSEY
:
an
enigmatic
object
that
stands
the
test
of
time,
conveying
the
dreams
of
a
past
or
future
humanity.
According
to
you,
ORDET
is
not,
properly
speaking,
a
play
about
religion.
Could
you
elaborate
on
the
specificity
of
your
approach
to
the
subject
as
well
as
on
the
necessity
to
address
it
today
in
the
theatre?
ORDET
is
not
a
naturalistic,
peasant
drama
but
in
every
respect
a
poetic
act,
along
the
lines
of
a
Nordic
culture
pervaded
by
the
supernatural.
ORDET
tells
the
story
of
an
irrational
event
occurring
in
a
rational,
familiar
world.
The
central
question
“to
believe?”
is
fascinating,
because
it
does
not
only
interrogate
our
relationship
to
God,
but
also
our
doubts,
desires
or
necessity
to
believe.
What
interests
me
is
the
intimate
quest
of
Man
looking
to
make
sense
of
the
finitude
of
life
and
of
loss.
It
is
not
about
illustrating
a
theological
debate.
The
subject
of
ORDET
seems
all
the
more
relevant
to
me
as
we
are
facing
a
dangerous
paradox
today:
religion
has
never
been
more
present
in
our
society,
and
it
has
never
been
as
off‐limits.
“Secularism”
and
“atheism”,
“religious”
and
“fundamentalist”
are
being
confused.
Spirituality
is
being
confused
with
dogma.
The
aspiration
to
spirituality,
which
is
fundamental
to
our
human
condition,
is
negated
because
it
is
a
frightful
subject.
So
we
are
at
the
heart
of
a
contemporary
interrogation,
in
which
a
tremendous
amount
of
room
is
actually
left
to
doubters
and
non‐believers.
This
is
why,
in
Avignon,
I
eventually
preferred
the
Cloître
des
Carmes
to
the
Cour
d’honneur
of
the
Papal
Palace,
which
had
been
originally
offered
to
me.
The
horizontal
relationship
between
the
stage
and
the
house
at
the
Cloître
des
Carmes
turned
the
Ordet
characters
into
persons,
while
the
Cour
d’honneur,
with
its
vertiginous,
high‐angle
view,
would
have
submitted
them
to
the
divine.
To
what
extent
can
ORDET
be
read
as
a
theatrical
manifesto?
The
question
that
underlies
the
play
moves
me
th
deeply:
after
the
tragedies
of
the
20 century,
in
what
can
we
believe
today?
How
to
live?
Where
does
our
strength
come
from?
I
am
very
moved
by
the
potential
of
art
to
help
to
bear
the
miseries
of
the
world,
to
understand
this
archaic
pain,
this
metaphysical
tear
linked
to
the
other’s
loss.
Kaj
Munk,
like
Carl
Dreyer,
who
adapted
the
play
to
the
screen
in
1955,
lost
his
mother
as
a
child.
Both
were
confronted
with
the
failure
of
the
resurrection
they
had
been
promised,
and
mended
their
loss
through
an
artistic
gesture.
I
feel
close
to
the
approach
of
these
artists,
who
found
in
the
act
of
creation
something
reality
had
taken
away
from
them.
Art
comes
to
mend
reality.
ORDET,
probably
like
the
theatre,
means
trusting
speech.
In
that,
ORDET
is
a
manifesto.
Artistic
Collaborators
MARCEL
PERES
and
the
L’ENSEMBLE
ORGANUM
Musical
research
and
composition,
voice.
After
studying
composition
and
the
organ
at
the
Nice
Conservatory,
Marcel
Pérès
perfected
his
studies
in
England
at
the
Royal
School
of
Church
Music,
then
in
Canada,
where
he
worked
for
two
years
with
the
Studio
de
Musique
Ancienne
in
Montreal
and
at
the
center
for
musical
research
of
the
Office
National
du
Film
au
Canada.
Upon
his
return
to
Europe
in
1979,
Marcel
Pérès
specialized
in
medieval
music
under
Michel
Huglo
at
the
Ecole
Pratique
des
Hautes
Etudes
in
Paris.
Eager
to
breathe
life
into
theory
through
practice,
he
founded
the
Organum
Ensemble
in
1982,
with
which
he
set
out
to
systematically
and
methodically
explore
the
less
studied
areas
of
the
medieval
repertories.
Since
1984,
Marcel
Pérès
has
been
the
director
of
the
Association
pour
la
Recherche
et
l’Interprétation
des
Musiques
Médiévales
at
Royaumont
Abbey.
Each
year
several
research
programs
are
started
under
his
direction,
following
an
interdisciplinary
perspective.
Thanks
to
his
work,
the
Ecole
Notre‐Dame
de
Paris,
th
th
11 and
12 century
Aquitain
repertories
or
micro‐
intervals
and
ornamentation
in
Gregorian
chant
are
now
accessible.
The
ensemble
has
covered
most
of
the
European
repertories
which
have
made
a
mark
on
the
history
of
th
music
since
the
6 century.
The
investigations
stretched
all
the
way
to
the
last
three
centuries
of
the
second
millennium,
thus
throwing
into
relief
the
existence
of
permanent
medieval
aesthetic
tendencies
in
some
movements
up
until
the
last
decades
of
the
twentieth
century.
ERIC
VIGNER
Set
Design
He
directs
the
CDDB‐Théâtre
de
Lorient,
Centre
Dramatique
National
since
1996.
After
studying
plastic
arts,
he
was
admitted
to
the
Conservatoire
National
Supérieur
d’Art
Dramatique
in
Paris.
In
1990,
he
founded
his
own
company,
la
Compagnie
Suzanne
M.,
and
directed
Roland
Dubillard’s
LA
MAISON
D’OS
(THE
BONE‐HOUSE).
In
1993,
he
encountered
Marguerite
Duras’
work
through
the
play
LA
PLUIE
D’ETÉ
(SUMMER
RAIN),
which
he
directed
at
the
Conservatoire.
The
production
then
toured
internationally
and
was
made
into
a
film.
He
worked
successively
on
Corneille,
Hugo,
Racine
and
Molière,
while
pursuing
his
companionship
with
Marguerite
Duras.
His
production
of
SAVANNAH
BAY
marked
Duras’
introduction
into
the
Comédie‐Française
repertory.
At
the
Avignon
Festival,
Eric
Vigner
directed
BRANCUSI
CONTRE
ETATS‐UNIS,
UN
PROCÈS
HISTORIQUE,
1928
(BRANCUSI
VS.
THE
UNITED
STATES,
A
HISTORIC
TRIAL,
1928)
in
1996
and
PLUIE
D’ÉTÉ
À
HIROSHIMA
(SUMMER
RAIN
IN
HIROSHIMA)
in
2006.
In
2008,
he
stages
OTHELLO
by
Shakespeare
in
a
new
translation
cosigned
with
Rémi
De
Vos
and
presented
at
the
Odéon‐Théâtre
de
l’Europe.
He
designed
the
sets
of
his
latest
productions
(LA
BÊTE
DANS
LA
JUNGLE
(THE
BEAST
IN
THE
JUNGLE),
SAVANNAH
BAY,
OÙ
BOIVENT
LES
VACHES
(WHERE
THE
COWS
DRINK),
PLUIE
D’ÉTÉ
À
HIROSHIMA,
JUSQU’À
CE
QUE
LA
MORT
NOUS
SÉPARE
(UNTIL
DEATH
DO
US
PART),
DÉBRAYAGE
by
Rémi
De
Vos
and
for
Arthur
Nauzyciel’s
productions
of
PLACE
DES
HÉROS
(HELDENPLATZ)
by
Thomas
Bernhard
at
the
Comédie‐Française
in
2004
and
ORDET
(LA
PAROLE)
at
the
Cloître
des
Carmes
at
the
Avignon
Festival
in
2008.
DAMIEN
JALET
Choreographer
Damien
Jalet
is
French
and
Belgian.
After
his
first
studies
in
theatre
at
the
I.N.S.A.S.
(National
Institute
of
the
Performing
Arts,
Brussels)
he
shifted
to
contemporary
dance
studying
in
Belgium
and
in
New
York.
He
started
his
dance
career
with
Wim
Vandekeybus
on
the
show
THE
DAY
OF
HEAVEN
AND
HELL
in
1998
and
danced
with
the
choreographers
Ted
Stoffer
and
Christine
De
Smedt.
In
2000,
he
began
an
intense
collaboration
with
Sidi
Larbi
Cherkaoui
as
his
artistic
partner
within
the
company
Les
Ballets
C.
de
la
B.
They
co‐created
RIEN
DE
RIEN
(2000),
FOI
(2003),
TEMPUS
FUGIT(2004),
and
MYTH
(2006).
In
2002
he
created
the
piece
D'AVANT
in
collaboration
with
Cherkaoui,
Luc
Dunberry
and
Juan
Kruz
Diaz
de
Garaio
Esnaola.
In
2005,
he
did
the
short
movie
THE
UNCLEAR
AGE,
co‐directed
with
Erna
Ómarsdóttir
and
the
movie
makers
Dumspiro.
Together
with
Ómarsdóttir,
Gabriela
Fridriksdóttir
and
Raven
he
created
the
piece
OFAETT
(UNBORN)
for
the
Theatre
National
de
Bretagne.
In
2006,
he
created
the
short
duet
ALEKO
for
the
Museum
of
Contemporary
Art
of
Aomori,
Japan,
in
collaboration
with
Sidi
Larbi
Cherkaoui
and
Alexandra
Gilbert.
Damien
Jalet
just
co‐directed
a
video
with
famous
photographer
Nick
Knight
and
designer
Bernhard
Willhelm
for
the
presentation
of
his
men
collection.
He
assisted
Sidi
Larbi
Cherkaoui
for
the
creation
of
the
piece
IN
MEMORIAM
for
Les
Ballets
de
Monte‐
Carlo
and
LOIN
for
the
Ballet
of
the
Grand
Theatre
of
Geneva.
Damien
Jalet
studied
Ethnomusicology
and
polyphonic
singing
with
Giovanna
Marini,
Christine
Leboutte,
Nando
Acquaviva,
and
Nicole
Casalonga.
He
has
been
collaborating
with
Arthur
Nauzyciel
since
2006
:
for
the
creation
of
THE
IMAGE
by
Samuel
Beckett
(2006),
JULIUS
CAESAR
by
Shakespeare
(2008),
ORDET
(2008),
he
was
also
choreographer
and
dancer
for
the
SEA
MUSEUM
(LE
MUSEE
DE
LA
MER)
by
Marie
Darrieussecq,
created
in
2009.
JOSE
LEVY
Costume
Design
José
Lévy
was
born
in
Paris.
In
total
discrepancy
with
the
80’s
trends
and
moods,
his
first
collections
pay
homage
to
French
artists
Jacques
Tati,
Patrick
Modiano
or
Jacques
Demy
and
immediately
put
him
on
the
international
map.
Recipient
of
many
awards
(Andam,
Grand
Prix
de
la
Ville
de
Paris…),
he
even
shows
some
of
his
works
at
the
Fondation
Cartier.
In
13
years,
he
imposes
his
trademark
to
men’s
fashion
with
his
own
label,
José
Lévy
à
Paris,
and
asserts
himself
as
a
one
of
a
kind
colorist
as
much
as
a
sharp‐eyed
tailor.
In
the
same
breath,
he
collaborates
with
household
names
like
Holland
&
Holland,
Nina
Ricci,
Cacharel
and
Emmanuel
Ungaro.
Aiming
to
reach
a
larger
audience,
José
Lévy
also
designs
exclusive
products
for
Monoprix,
La
Redoute
or
André.
From
the
very
beginning,
the
free
and
ever
curious
José,
eclectic
and
focused,
has
exercised
his
keen
gaze
in
collaborating
with
numerous
artists
(photographers
and/or
contemporary
artists
like
Jack
Pierson,
Gotscho,
Nan
Goldin,
Parenno,
Jean
Pierre
Khazem,
The
Kolkoz
;
architects
such
as
Xavier
Gonzales,
or
musicians
like
Jay
Jay
Johanson
and
Benjamin
Biolay
).
Since
2007,
he
dedicates
himself
fully
to
this
crosswise
creation
in
between
plastic
arts
and
design.
The
Museum
of
Decorative
Arts
set
at
107,
Rue
de
Rivoli
in
Paris,
has
recently
invited
him
to
exhibit
the
collection
of
porcelain
objects
he
designed
for
Deshoulières.
ORDET
is
a
first
collaboration
to
a
theatre
project.
JOEL
HOURBEIGT
Lighting
Design
Famous
for
the
subtlety
and
sensitivity
of
his
work,
he
collaborated
regularly
over
the
years
with
some
of
the
greatest
theater
directors
such
as
Claude
Régy,
Alain
Françon,
Eric
Vigner,
Valère
Novarina...
For
Arthur
Nauzyciel,
before
ORDET
he
designed
the
lights
for
PLACE
DES
HEROS
(HELENPLATZ)
by
Thomas
Bernhard
at
the
Comédie‐Française.
XAVIER
JACQUOT
Sound
Design
He
studied
at
the
Théâtre
National
in
Strasburg,
where
he
has
chaired
the
“sound
and
video”
department
from
2005
to
2008.
He
has
worked
regularly
with
Eric
Vigner,
Thierry
Collet,
Daniel
Mesguich,
Xavier
Maurel,
Stéphane
Braunschweig
and
on
short
features
for
the
screen.
For
Arthur
Nauzyciel
he
designed
the
sound
FOR
LE
MALADE
IMAGINAIRE
OU
LE
SILENCE
DE
MOLIÈRE,
BLACK
BATTLES
WITH
DOGS
and
HAPPY
DAYS.
Cast
PASCAL
GREGGORY,
Mikkel
Borgen,
father
Pascal
Greggory
was
a
member
of
the
children’s
choir
at
the
Paris
Opera,
then
took
drama
courses
and
was
admitted
to
the
National
Theatre
Conservatory.
He
played
small
parts
in
the
theatre
and
in
film.
During
the
1970s,
he
met
André
Téchiné,
who
cast
him
in
LES
SOEURS
BRONTË
(THE
BRONTË
SISTERS)
(1979)
and
Eric
Rohmer,
who
cast
him
in
three
films:
LE
BEAU
MARIAGE
(1982),
PAULINE
À
LA
PLAGE
(PAULINE
AT
THE
BEACH)
(1983)
AND
L’ARBRE,
LE
MAIRE
ET
LA
MÉDIATHÈQUE
(1993).
A
favorite
actor
of
Patrice
Chéreau,
he
worked
with
him
in
the
theatre
before
shooting
LA
REINE
MARGOT
(QUEEN
MARGOT),
for
which
he
received
his
first
César
award
nomination.
It
marked
the
beginning
of
a
beautiful
collaboration,
leading
to
CEUX
QUI
M’AIMENT
PRENDRONT
LE
TRAIN
(THOSE
WHO
LOVE
ME
CAN
TAKE
THE
TRAIN)
(1998),
SON
FRÈRE
(2003)
and
GABRIELLE
(2005)
starring
alongside
Isabelle
Huppert.
Drawn
mostly
to
auteur
cinema,
Pascal
Greggory
has
worked
with
Raoul
Ruiz,
Andrej
Zulawski,
Ilan
Duran
Cohen
and
Jacques
Doillon.
He
was
in
the
Oscar
winning
movie
LA
MOME
(LA
VIE
EN
ROSE)
directed
by
Olivier
Dahan.
With
scarcer
stage
appearances
in
the
last
few
years,
he
has
only
performed
under
the
direction
of
Luc
Bondy,
Nicole
Aubry
and
Patrice
Chéreau:
LE
TEMPS
ET
LA
CHAMBRE
(TIME
AND
THE
ROOM),
DANS
LA
SOLITUDE
DES
CHAMPS
DE
COTON
(IN
THE
SOLITUDE
OF
COTTON
FIELDS),
PHÈDRE.
CATHERINE
VUILLEZ,
Inger
Borgen
She
studies
at
the
Florent
Acting
School
before
entering
the
Conservatoire
National
Supérieur
d'Art
Dramatique.
She
works
classical
repertory
and
contemporary
plays
with
famous
directors
as
Jean‐Pierre
Vincent
(THE
MARRIAGE
OF
FIGARO),
Roger
Planchon,
(Feydeau,
Musset,
Calaferte)
Klaus
Michaël
Grüber
(DANTON'S
DEATH)
;
Eric
Vigner
(THE
BONE
HOUSE
by
Roland
Dubillard,
THE
YOUNG
MAN
by
Jean
Audureau).
Within
the
Avignon
Festival
2009,
she
played
with
Nicolas
Boucheaud
DIS‐MOI
QUELQUE
CHOSE
(Sujets
à
vif/SACD).
With
Arthur
Nauzyciel,
she
played
LE
MALADE
IMAGINAIRE
OU
LE
SILENCE
DE
MOLIÈRE
and
texts
by
Armand
Salacrou.
FREDERIC
PIERROT,
Mikkel
Borgen,
son
After
studying
advanced
math
for
a
year,
Frédéric
Pierrot
left
for
the
United
States,
where
he
discovered
show
business.
Back
in
France,
he
decided
to
take
acting
courses
while
working
as
a
crew
member
on
film
sets.
In
1989,
he
was
cast
IN
LA
VIE
ET
RIEN
D’AUTRE
(LIFE
AND
NOTHING
BUT)
by
Bertrand
Tavernier,
a
director
who
would
go
on
casting
him
regularly
in
his
features
(CAPITAINE
CONAN,
1996,
HOLY
LOLA,
2004).
He
had
his
real
breakthrough
with
English
director
Ken
Loach’s
LAND
AND
FREEDOM.
He
went
on
to
star
in
CAPITAINES
D’AVRIL
(APRIL
CAPTAINS)
by
Maria
de
Medeiros,
FOR
EVER
MOZART
by
Jean‐Luc
Godard,
CIRCUIT
CAROLE
by
Emmanuelle
Cuau,
LA
VIE
MODERNE
(MODERN
LIFE)
by
Laurence
Ferreira
Barbosa,
IMAGO
(JOURS
DE
FOLIE)
by
Marie
Vermillard,
LES
SANGUINAIRES
by
Laurent
Cantet,
INQUIÉTUDES
(A
SIGHT
FOR
SORE
EYES)
by
Gilles
Bourdos,
and
LES
REVENANTS
(THEY
CAME
BACK)
by
Robin
Campillo.
In
2009,
he
collaborates
with
jazzman
Henri
Texier
for
the
creation
of
PREVERT
BLUES.
He
read
Marie
Darrieussecq’s
TOM
EST
MORT
(TOM
IS
DEAD),
directed
by
Arthur
Nauzyciel,
as
part
of
the
Musée
Calvet
reading
series
at
the
2007
Avignon
Festival.
JEAN‐MARIE
WINLING,
Peter
Skraedder
Jean‐Marie
Winling’s
stage
debut
goes
back
over
thirty
years,
when
Mehmet
Ulusoy
directed
him
in
Nazim
Hikmet’s
LES
LÉGENDES
À
VENIR
(LEGENDS
OF
LOVE),
performed
at
the
Théâtre
Gérard
Philipe
in
Saint‐Denis.
Two
years
later,
Winling
himself
directed
his
first
production,
LA
SENSIBILITÉ
FRÉMISSANTE
(SHIVERING
SENSITIVITY),
while
still
acting
under
such
directors
as
Claude
Risac,
Jacques
Rosner,
Stuart
Seide,
Jacques
Lassalle.
During
the
1980s,
his
career
was
mostly
associated
with
director
Antoine
Vitez,
with
whom
he
shared
a
long
companionship
and
who
cast
him
in
a
dozen
productions,
from
BÉRÉNICE
(1980)
to
APPRENTIS
SORCIERS
(SORCERER’S
APPRENTICES)
(1988),
to
HIPPOLYTE,
HAMLET,
LA
MOUETTE
(THE
SEAGULL),
LE
HÉRON,
LUCRÈCE
BORGIA
and
LE
SOULIER
DE
SATIN
(THE
SATIN
SLIPPER).
Since
then
he
has
been
directed
by
Jean‐
Pierre
Vincent,
Eric
Lacascade,
and
Alain
Françon,
among
others,
while
being
cast
in
films
directed
by
Jean‐Paul
Rappeneau
(CYRANO
DE
BERGERAC),
Jacques
Deray,
François
Dupeyron,
Pierre
Granier‐
Deferre,
Xavier
Giannoli
(Golden
Palm
for
Best
Short
Feature
at
the
1998
Cannes
Festival),
Claude
Lelouch,
Eric
Rochant,
Xavier
Beauvois,
Christophe
Honoré…
CHRISTINE
VEZINET,
Kirstine
Skraedder
After
studying
with
Patrice
Chéreau
at
the
actor’s
Nanterre
Amandier
school
in
the
eighties,
she
works
with
famous
directors
like
Daniel
Mesguisch,
Alain
Françon,
Luis
Pasqual,
Jean‐Louis
Martinellli,
Claude
Buchvald.
She
has
been
cast
in
films
directed
by
André
Téchiné,
Jacques
Rivette,
Philippe
Le
Guay.
She
is
1985
Villa
Medicis
Hors‐les‐Murs
scholar
‐
for
the
United
States.
XAVIER
GALLAIS,
Johannes
Borgen
After
studying
at
the
Conservatoire
National
Supérieur
d'Art
Dramatique,
his
parts
on
stage
go
from
Sophocle
(ELECTRA)
to
Shakespeare
(MUCH
ADO
ABOUT
NOTHING,
ROMEO
AND
JULIETTE)
as
well
as
Woody
Allen
(ADULTERIES)
or
Koltès
(ROBERTO
ZUCCO
for
which
he
won
the
Molière
award
for
best
new
actor).
He
directed
SLEEPLESS
NIGHTS
by
Fedor
Dostoievski
BENOIT
GIROS,
Doctor
Houen
He
worked
with
such
directors
as
Eric
Vigner,
Jacques
Nichet,
Bernard
Sobel.
During
five
years
he
worked
in
a
street
theatre
company
ECLAT
IMMÉDIAT
ET
DURABLE.
He
has
been
cast
in
films
directed
by
Jean‐
Luc
Perréard,
Jean‐Louis
Bertucelli
and
recently
by
Rachid
Bouchareb
in
INDIGÈNES.
He
was
awarded
the
critics’
prize
for
best
actor
at
the
Angers
Festival
for
QUAND
TU
DESCENDRAS
DU
CIEL
by
Eric
Guirado.
In
2009,
he
created
his
first
staging
L’IDÉE
DU
NORD
(THE
IDEA
OF
NORTH)
by
Glenn
Gould
while
he
was
associate
artist
at
the
Centre
Dramatique
National
Orléans/Loiret/Centre.
He
is
2008
Villa
Medicis
Hors‐les‐Murs
scholar.
PIERRE
BAUX,
Pastor
Bandbul
A
self‐taught
performer,
he
started
working
with
such
directors
as
Jean
Danet,
Pierre
Meyrand,
Jacques
Mauclair.
He
was
then
directed
by
Frédéric
Fisbach,
Jeanne
Champagne,
Jacques
Rebotier,
Eric
Vigner
and
François
Verret.
He
has
been
a
regular
with
Jacques
Nichet
(MEASURE
FOR
MEASURE,
FAUT
PAS
PAYER
(NON
SI
PAGA,
NON
SI
PAGA!))
and
Ludovic
Lagarde
(PLATONOV,
IVANOV,
SOEURS
ET
FRÈRES
(SISTERS
AND
BROTHERS),
THE
CAUCASIAN
CHALK
CIRCLE,
THE
FAIRY
QUEEN,
RICHARD
III…).
He
directed
Heiner
Müller’s
QUARTETT
starring
Célie
Pauthe.
In
film,
he
has
worked
with
Cédric
Kahn,
Philippe
Garrel
and
Philippe
Faucon.