Interview
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With “Avignon, a school” and “Forever”, the two artists showcase the memory of the Festival. By giving pride of place to experimentation, they question the evolution of bodies and the border between rehearsal and the finished show.
One reinterprets with students from the Manufacture in Lausanne significant moments in the history of the Avignon Festival. The other invites us to the rehearsal of Café Müller, a legendary and beloved play by Pina Bausch, whose theater he took over, the famous Tanztheater in Wuppertal, Germany. With Avignon, a school et Forever (immersion in Café Müller by Pina Bausch)Fanny de Chaillé and Boris Charmatz, artists who are accomplices of this edition, same age, each open in their own way a treasure chest to which they give life again and which they distribute to us. How do we create a story through shows that, by definition, we have not (necessarily) seen? With what forgetfulness and tools is an artistic memory shared? Fanny de Chaillé had already taken hold of these questions with her marvelous Another history of the theater which hasn’t finished spinning. Boris Charmatz, inventor of the paradoxical dance museum in Rennes, has never ceased since the beginning to question the updating of the memory of the body and repertoires, their transmissions and transformations. Meeting and dialogue in Paris, before the legislative elections and a political Avignon edition or nothing.
Is the body a living archive?
Boris Charmatz : When I started out, I liked the idea that the body could be the object of research.
