we admire the decor and we agree – Libération

we admire the decor and we agree – Libération
we admire the decor and we agree – Libération

Critiques, portraits, interviews… Follow all the latest news from the Avignon Festival every week with special correspondents from “Libération”.

A strange week for the Avignon Festival, which opened with two images of coffins: that of Bergman exhibited by Angélica Liddell in the main courtyard of the Palais des Papes, that of Charles Bon in theAbsalon, Absalon! by Séverine Chavrier. Two coffins are a lot. What will we place in them on Sunday, July 7? Our republican ideals? The liberty-equality-fraternity of our pediments? The story of a popular theater that didn’t really see anything coming, worse, that turned away – a scenario spun by Ariane Mnouchkine in Release June 12. His platform haunts pre-show discussions. It’s for or against, we hear “arsonist!” in a camp, “denial of reality”, answers the other, before each falls into each other’s arms to the tune of “RN will not pass.”

On Thursday, the theater mobilized. In a packed Palais des Papes, the in did its “Nuit d’Avignon” relayed by a dozen television channels, same score for the radios; in the afternoon, the off had also drawn its great debate. On stage? It’s every day, with plays that call for accountability and taking action. The Baro d’Evel collective does not miss its shot when it asks the question Who are we ? Yes, who are we? And who do we want to be? Are we going to have to listen once again, hand on heart, to the necessarily generous flights of fancy about the democratic greatness of culture? Or take the measure of the disaster once and for all? There are two empty coffins waiting, we shouldn’t get the wrong funeral. L.G.

On adore

Absalon, Absalon! by Séverine Chavrier. The director overflows William Faulkner’s monstrously American novel in front of spectators who must constantly readjust their gaze. Our review: Absalon, Absalon!, a matter remains.

Tear by Caroline Guiela Nguyen. Between Paris, Bombay and Alençon, Caroline Guiela Nguyen retraces the making of a princess’s wedding dress. Her show is a feat, a broad, popular choral tale of rare precision. Our review: Great stage art and old lace.

Dämon, Bergman’s Funeral by Angelica Liddell. With extreme sincerity, the Spanish performer transforms the terrifying immensity of the Popes’ Palace into an intimate place. Our review: Angélica Liddell at the Court of the Popes: Funeral Emeritus.

We like it a lot

Quixote by Gwenaël Morin. With Jeanne Balibar in the role of Cervantes’ hero, Gwenaël Morin delivers a graceful and successful show whose fragility and imperfection bring out all the power of a play whose subject resonates with the current context. Our review: Quixote, attention agile.

Bernarda Alba’s house d’Enzo Verdet. The performance of Federico García Lorca’s play by inmates at the Avignon-Le Pontet penitentiary draws striking parallels between its male performers and the oppressed young girls they portray. Our review: In Avignon, inmates break down the walls of Bernarda Alba’s house

Who are we ? of Baro d’Evel. For its first creation at the Festival, the Franco-Catalan company resonates with wild laughter, political energy and formal beauty, sometimes with an air of déjà vu. Our review: Who are we ? from the Baro d’Evel company, a bit crazy.

Not bad

Hecuba, not Hecuba by Tiago Rodrigues. Between family drama and state scandal, the director, director of the Festival, delivers a variation of Euripides served by the virtuoso actors of the Comédie-Française which does not, however, escape an overly emphatic pedagogy. Our review: Hecuba, not Hecuba, without a hitch.

A voracious shadow by Mariano Pensotti. Despite a sometimes pompous message about identity, the Argentinian’s mirror show, organizing the face-to-face between a mountaineer and an actor, grabs thanks to a convincing story. Our review: Mariano Pensotti, peaks to the quick.

What the fuck

At the premiere of Demon, Spanish director Angélica Liddell performed press articles before directly accosting journalists. France Inter critic Stéphane Capron, present in the room and the target of insults, filed a complaint.

Meanwhile in the off

Save Your Projects (and Maybe the World) with the Iterative Method d’Antoine Defoort. A pastiche of a TedX conference on the throes of creative work, Save your projects with the iterative method is a funny and salutary one-man show where the art of explaining theoretical abstractions shines through ingenious metaphors. Our review: How to Become a Cool Artist with Antoine Defoort.

An Irish Story by Kelly River. Jumping from one language and era to another, the Franco-Irish actress uses humor and suspense to tell her story of a long-lost ancestor whose absence has obsessed her since adolescence. Critical note: An Irish Story by Kelly Rivière, the Eire of time.

The Tickles by Andrea Bescond. Exactly a decade after its premiere in Avignon, in the meantime crowned with a Molière and adapted for the cinema, the one-woman show about the sexual violence she experienced as a child returns, slightly updated, to the Théâtre du Chêne Noir. Our review: The Tickles by Andréa Bescond: ten years, her past.

The portraits

The Ribot. The Spanish choreographer has dedicated a large part of her work to the erasure of women. With Joan Fiction, She focuses on the character of the reclusive queen Joanna I of Castile.

Jeanne Balibar. The actress plays Quixote, directed by Gwenaël Morin, at the Jardin de Mons in Avignon. A cross-portrait between the hero of Cervantes and the actress, accustomed to cross-dressing.

The ticket, in dizzying mode

The seesaw. Both a bubble of entertainment and a mirror of the world, the theatrical event cannot be separated from the unique political moment that is shaking France. For directors and critics alike, surpassing oneself is essential. Lucile Commeaux’s post.


Angelica Liddell. Heroine and absolute criminal of the Festival, the Spanish director will replay the funeral of the Swedish filmmaker Ingmar Bergman in the courtyard of honor of the Palais des Papes in Demon. She talks about her childhood, her beginnings in the theater and her vision of her own death.

And next week?

We will go to the Chartreuse de Villeneuve-lès-Avignon to see old people on stage. For his new show, The Secret Life of Old People, Mohamed El Khatib recruited seven of them through classified ads: “If you are over 75 and have love stories, call me.” We will talk about love, desire, masturbation, pressure from children, bringing bodies together in nursing home rooms.

In the courtyard of honor of the Popes’ Palace, in Mothers, a Song for Wartime, Polish director Marta Górnicka will direct a choir of 21 Ukrainian, Polish and Belarusian women, aged 9 to 71, who will whisper, scream and chant the violence that falls on women’s bodies in times of war, on the borders of Europe.

Looking forward to seeing too Sea of silence by Uruguayan Tamara Cubas, based on the stories of seven women from around the world, and Soliloquy by the Argentinian Tiziano Cruz, on discrimination against indigenous people, both part of the rich selection in Spanish this year.



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