Théâtre du Galpon: “La Panne” grotesque and polyglot farce

Those whose steps regularly lead to Galpon recognize among thousands the stylistic signature of Gabriel Alvarezpermanent resident of the theater with the choreographer Nathalie Tacchella and the puppeteer Padrutt Tacchella. In the undergrowth on the banks of the Arve, whether the director serves Heiner Müller, Valère Novarina, Beckett or the Greeks, the gesture will certainly be ceremonious, the voice luxurious, and the language infectious. In the local community, Alvarez is the visionary, the obsessive, the macabre of the group.

This time, the hurluberlu is part of a long-term project, the beginnings of which took place during a stay with his Geneva company. Theatrical Action Studio in his native Colombia. It was in Medellín that the idea of ​​a potlatch was born with the Pequeño Teatro, on the occasion of its half-century of existence, around “The breakdown” of Friedrich Dürrenmatt. First leg, a French-speaking version of the co-production is presented at Galpon this month of October 2024; return match, she will perform in March 2025 in the second Colombian city, in Spanish this time. Three actresses based in Geneva opposite three actresses from Medellín.

A priori, we would not necessarily think of the text published in 1956 by the great Swiss writer as the ideal gateway to span the Atlantic from Lake Geneva to the Andes mountain range. His pitch: victim of a car breakdown, textiles representative Alfredo Traps is invited by a retired judge surrounded by former colleagues to participate in the mock trial in which the lawyers indulge around a tasty banquet. During the entertainment, Alfredo goes from false accused to real culprit liable to the death penalty.

For his part, avoiding any risk of accident, Gabriel Alvarez finds a way to adapt the work to his own taste. The lawyer becomes a lawyer (Justine Ruchat), the prosecutor (Clara Brancorsini), and the judge (Omaira Rodriguez), as well as the executioner (Albeiro Pérez), season the dialogues with Hispanic or Latin formulas. Beyond the mannerisms, both the author and the officiants find common ground in an equally grotesque vision of a consumerist society prey to cannibalism.

Katia Berger has been a journalist in the cultural section since 2012. She covers news in the performing arts, particularly through theater or dance reviews, but also sometimes deals with photography, visual arts or literature.More info

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