For four days, from May 8 to 11, the cadets of Sarcelles settled in Avranches for a theater residence in order to repeat and perfect their interpretation of the Cyrano of Bergerac play. During their stay, public rehearsals, workshops and friendly exchange time will be organized encouraging the meeting between artists and inhabitants. On May 11, the last day of residence, the troupe will present the show Place Charcot. A representation open to all.
Who are they?
The cadets of Sarcelles are thirteen young actors dancers of Ile-de-France, under professionalization. Five professional players complete this wide distribution. The “Cadets”, faithful Battle Companions of Cyrano de Bergerac, here interpreted by young Ile -de -France residents spotted on casting and trained in the arts of the scene by the collective Chapter Treize will participate for the first time, as professional actors, in the essential theater festival, the Off d’Avignon.
This project followed and relayed by several French institutional partners and media (France 3 Ile de France), is carried by the collective Chapter Treize and the director Gaspard Baumhauer whose ambition is to reveal the talents, the desires and the sensitivity of a youth too often stigmatized and to bring the audiences around large pieces of the modernized classical repertoire. The transmission that takes place through practice within its creation process is the trademark of the collective.
-A rap version of Cyrano
In the highlight of this artistic residence, the public representation, in preview, of “Cyrano”, created and directed by Gaspard Baumhauer. The director’s bet: to resonate the most popular play in the French repertoire, Cyrano de Bergerac, and the youth of priority neighborhoods. “Ring meter, scientist, musician” … who would be Cyrano today if not a rapper, romantic and braking? The proposal made to the public is to rediscover this story as if it were going on today.
By adapting it to our contemporary reality, the work reaches us in a surprising way. She reminds us of how much the desire to live in a free, loving and poetic way continues to liven up.
It is not a question of rewriting Rostand’s text. It is far too grandiose to suffer that you change a comma. On the contrary, this staging offers a rediscovery of the same words in an adaptation that is intended to be a new setting for a work that still speaks to so many of us …
