Fanny De Chaillé
Le Chœur
© Le Chœur, Fanny De Chaillé © Marc Domage ©
© Le Chœur, Fanny De Chaillé © Marc Domage ©
© Le Chœur, Fanny De Chaillé © Marc Domage ©
Conception, Fanny de Chaillé
Inspired by the poem Et la rue, extrait de l’ouvrage divers chaos de Pierre Alferi (P.O.L.)
With the 2020 « Talents Adami Théâtre » graduates: Marius Barthaux, Marie-Fleur Behlow, Rémy Bret, Adrien Ciambarella, Maudie Cosset-Chéneau, Malo Martin, Polina Panassenko, Tom Verschueren, Margot Viala, Valentine Vittoz
Assistant, Christophe Ives
Rehearsal diary, Grégoire Monsaingeon
Sound and radio, Manuel Coursin
Technical manager and light, Willy Cessa
Production manager, Isabelle Ellul
Communication and logistics, Jeanne Dantin
Produced by Association Display; Adami; Festival d’Automne à Paris; Project created as part of the operation Talents Adami Théâtre
Coproduced by and residency CND Centre national de la danse with the support from Fonds de dotation Porosus; Malraux – Scène nationale Chambéry Savoie
In collaboration with l’Atelier de Paris / CDCN
With the help from Cité internationale des Arts de Paris and the DRAC Auvergne Rhône-Alpes as part of France Relance
Le Festival d’Automne à Paris is co-producer of this performance.
Fanny de Chaillé returns in the high schools with her show Le Choeur, first performed during the Festival’s 2020 edition as part of the Talent Adami Théâtre initiative. Ten young actors and actresses constitute a body of ten voices. Onstage, different stories intertwine, converse and converge in a single momentum.
The format of the chorus, both actor and spectator, enunciator and silent audience, enables Fanny de Chaillé to dig deeper into her research on the spoken word and its reception. How can we involve the body in the telling of a story? In the company of ten young actors and actresses, the female director draws up a choreography, both corporal and sound-based: whispers, collective narration and personal accounts unfurl on stage in a common outbreath. From out of this staging emerges a fresh new way of making theatre, which is both joyful and free. The text by the poet Pierre Alferi, taken from his collection diverse chaos, blends with texts by each of the performers, invented during the rehearsals. Underlying these slices of life is a question: how does History meet with our own history? How do the intimate and the collective event cross each other’s paths? The show multiplies the different accounts, opening up an infinite variety of possibilities: it speaks to us of the fabric of a contemporary chorus, unveiling its pulsations and energy.
In the same place
Ligia Lewis Still Not Still
In Still Not Still, choreographer Ligia Lewis pursues her exploration into the silences and shadows of history. In this piece, the performers play out a score over and over again, the burlesque dimension of which makes it all the more tragic.
Mohamed Bourouissa, Zazon Castro Quartier de femmes
At the crossroads between theatre and stand-up, the first show by the visual artist Mohamed Bourouissa brings to the stage the different phases in the life of a woman in prison and its transformations. In the absence of pathos, the piece uses humour to circumvent the arduous nature of its subject matter.
Calixto Neto IL FAUX
Starting with the initial premise that a black body is by its very nature exposed to the danger of expropriation, or that of being stolen from itself, Calixto Neto tries to resist against exterior control and the risk of annihilation. In this exercise in ventriloquism, the Brazilian choreographer searches for the words with which to write dance.
Mohamed El Khatib La vie secrète des vieux
Mohamed El Khatib furthers his passion for documentary theatre by tackling a subject that he brings from out of the shadows, namely that of eroticism and the love lives of “oldies”. Put together in a daring yet tender way, his new piece explores this theme from the perspective of desire, thereby going against the usual connotations associated with old age.