The festival invites, in partnership with La Passerelle, the play “She who looks at the world”, this Thursday, November 28. You started from the words of young people from Hauts-de-France. In what context? Why the North?
Alexandra Badea: “The North is the headquarters of my theater company, but it is not the main goal. I started writing the text just after the arrival of the first wave of Syrian refugees in France. I accompanied young artists in a refugee camp managed by the Utopia 56 association in Grande-Synthe, who wanted to write on this subject, “Writing from reality”. In my work, I generally don’t go looking for a word to write. It is the encounter with themes and people that, later, I decide to write, and then I find the documentation rather in books, essays. I’m a little afraid of going to meet someone who has experienced trauma. But in this camp, I met a lot of young people – many from Brittany – who said that they were not necessarily there to help, but to find meaning. They said that they no longer found meaning in the world in which we live, the world of work scares us, we no longer understand the world of our parents, this chaotic world does not make us want to integrate into the path traced. I was really moved and struck by their maturity, by the depth of their thinking and the shift from the dominant discourse.”
What is this interest in young people based on?
“In a project on education and proximity, I had carte blanche with, for the theme, what I wanted to say to today’s young people. Immediately, the faces of these young people returned. Because in the workshops that I did in high schools and colleges, most of the young people had a self-deprecating attitude, they had integrated the injunctions, the images that adults had of them. I wanted to give them another image of themselves.”
What is your ambition with this theatrical creation?
“The play was written in 2017, the decision to stage it was to make it exist in several forms. The one that you will see in Saint-Brieuc for the public who comes to the theater, and we also have a form outside the walls that we play particularly in high schools and colleges. What interests me today is how we address an audience that doesn’t come to the theater. How do we train a young audience, and also create a debate with them, understand them and why not, make them want to do theater, to get involved, to simply open up to others.”
What is the scenographic bias?
“It’s a very physical show. There are two actors on stage, and one actor on screen, because one part is filmed and the other on set. The cinematic space is that of the present, where this young girl is questioned by an investigator, and the space of the set is her past, where she retraces her meeting with this isolated young migrant. As a scenography, we have a forest, cut down, for me a metaphor for the world in which we live today, and the image of their inner world.”
Practical
“She who looks at the world” at La Passerelle in partnership with the De Beaux Lendemains festival, Thursday November 28 at 8 p.m. From 10 years old. Prices from 6 to 10 €. Contact: 02 96 68 18 40. www.lapasserelle.info and www.de-beaux-lendemains.fr
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