Lina Majdalanie Rabih Mroué

Hartaqāt (Hérésies)

Archive 2023
Theatre
1/3

1h55

Concept and direction, Lina Majdalanie and Rabih Mroué
Texts, Rana Issa, Incontinence; Souhaib Ayoub, L'imperceptible suintement de la vie; Bilal Khbeiz, Mémoires non fonctionnelles
With Souhaib Ayoub, Lina Majdalanie, Raed Yassin
Music, Raed Yassin
Choreography (L'imperceptible suintement de la vie), Ty Boomershine
Video, Rabih Mroué
Lighting, Pierre-Nicolas Moulin
Animation, Sarmad Louis
Video programming, Victor Hunziker
Trainee director, Juliette Mouteau
Accessories, Mathieu Dorsaz
Costumes, Machteld Vis
Translations, Lina Majdalanie, Tarek Abi Samra, Tristan Pannatier
Stage and video manager, Jad Makki
Lighting, Julie Nowotnik

Produced by Théâtre Vidy-Lausanne
Coproduced by Printemps des Comédiens (Montpellier); Berliner Festspiele and HAU - Hebbel am Ufer Berlin as part of Performing Exiles; Festival d'Automne à Paris; Théâtre du Rond-Point (Paris); Festival delle Colline Torinesi (Turin); TPE Teatro Piemonte Europa (Turin); La rose des vents Scène nationale Lille Métropole Villeneuve-d'Ascq

The Théâtre du Rond-Point and the Festival d'Automne à Paris are co-producers and co-presenters of this performance.

Three exiled autobiographies from Lebanon bear witness to the crossing of frontiers, which separate countries, eras, languages, social classes, genders and religions. In three chapters, Lina Majdalanie and Rabih Mroué weave together spoken word, music and visual arts in a stand against fatality and celebration of metamorphoses.

In Hartaqāt (Hérésies) Lina Majdalanie and Rabih Mroué bring together the texts of three contemporary Lebanese authors, one female and two male: academic and activist Rana Issa (Incontinence), novelist Souhaib Ayoub (The imperceptible ooze of life) and poet and journalist Bilal Khbeiz (Non-functional memories). All live in exile despite never really having left Lebanon. They live in a sort of in-between, neither really in a new geography, nor in their homeland, which is indicative of how the physical, sensory and mental frontiers have become blurred, malleable and asynchronous. In their own way, and with a mixture of melancholy, self-derision and irony, the show’s three chapters evolve from the basis of this mobile threshold by joining together, each in turn, with the music of Raed Yassin, and the dance and music of Rabih Mroué. Summoning up an illiterate, liberated, Palestinian grandmother, the not-so-distant memories of queer nights in Tripoli and the experience of being uprooted, they maintain the possible passages between languages, genders, and bodies, despite the constraints and authoritarian make-believe.

See also

Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 20

Rabih Mroué
Make Me Stop Smoking

ConferenceTheatre Portrait

Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.

Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 21

Rabih Mroué
The Inhabitants of Images

ConferenceTheatre Portrait

Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.

Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 22

Rabih Mroué
Sand in the Eyes

ConferenceTheatre Portrait

Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.

Théâtre de la Ville – Sarah Bernhardt
septembersept 23 – 28

Rabih Mroué
Who’s Afraid of Representation?

Theatre Portrait

We find ourselves in the company of major figures of European Body Art (Joseph Beuys, Orlan, Marina Abramović, to name a few) via their accounts of exhibitions and public scarifications dating back to the 1970s. In parallel with this runs the true story of a killing spree carried out by a Lebanese office at his workplace, and the fluctuating motivations for his acts.

Théâtre Silvia Monfort
octoberoct 16 – 18

Lina Majdalanie, Rabih Mroué, Mazen Kerbaj
Borborygmus

Theatre Portrait
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Set to a complex score of sound and light, a trio sets about uttering phrases of a visceral nature, creating an outlandish, chorus-like effect. Each sequence emerges, bouncing off an impromptu connection, thereby developing a new theme - ranging from distraught observations, memories, tributes, apocalyptic visions, and intimate observations, to unspeakable experiences.

Théâtre de la Cité internationale
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Lina Majdalanie, Rabih Mroué
Photo-Romance

Theatre Portrait
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How do we go about presenting the adaptation of a famous film to the Lebanese authorities in charge of censorship? We come to realize that it is about a film which recounts the improbable encounter between two very dissimilar individuals both of whom are experiencing social alienation in fascist Italy in 1938. The adaptation is set in Beirut in 2007, shortly after an Israeli attack on Lebanon.

La Commune, centre dramatique national d’Aubervilliers
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Lina Majdalanie, Rabih Mroué
Biokhraphia

Theatre Portrait
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These two one-person shows, Biokhraphia et Riding on a cloud, are an investigation into the self-portrait. In Riding on a Cloud, a man called Yasser speaks into a dictaphone, projects videos and broadcasts recordings, whilst expressing reservations about the extent to which these documents coincide with his true self. In Biokhraphia, it is Lina Majdalanie who becomes the subject of a very unusual interview.

La Commune, centre dramatique national d’Aubervilliers
novembernov 13 – 16

Rabih Mroué
Riding on a cloud

Theatre Portrait
Buy tickets

These two one-person shows, Biokhraphia and Riding on a cloud, are an investigation into the self-portrait. In Riding on a Cloud, a man called Yasser speaks into a dictaphone, projects videos and broadcasts recordings, whilst expressing reservations about the extent to which these documents coincide with his true self. In Biokhraphia, it is Lina Majdalanie who becomes the subject of a very unusual interview.

Fondation Cartier pour l'art contemporain
novembernov 18

Rabih Mroué
Before Falling Seek the Assistance of Your Cane

ConferencePerformance Portrait
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The Lina Majdalanie and Rabih Mroué duo presents two “non-academic conferences” and a concert-performance in collaboration with Rima Khcheich.

Théâtre du Rond-Point
novembernov 22 – 24

Lina Majdalanie, Rabih Mroué
33 tours et quelques secondes

Theatre Portrait
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Who is Diyaa Yamout, the Lebanese human rights activist, artist and blogger whose suicide shook the nation? We will never really know and this is not what matters. Indeed, what is far more fascinating here is the profusion of assorted reactions on Facebook, the television, and in the form of SMS and answering machine messages

Fondation Cartier pour l'art contemporain
novembernov 25

Rabih Mroué, Rima Khcheich
N'importe où

Concert Portrait
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The Lina Majdalanie and Rabih Mroué duo presents two “non-academic conferences” and a concert-performance in collaboration with Rima Khcheich.

Fondation Cartier pour l'art contemporain
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Lina Majdalanie
Appendice

ConferencePerformance Portrait
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The Lina Majdalanie and Rabih Mroué duo presents two “non-academic conferences” and a concert-performance in collaboration with Rima Khcheich.

CENTQUATRE-PARIS
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Lina Majdalanie, Rabih Mroué
Quatre murs et un toit

Theatre Portrait
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In 1947, the trial of German playwright Bertolt Brecht took place in the United States in front of the House Un-American Activities Committee (HUAC), responsible for combating communist activism. It was here that Brecht wrote a declaration which he was forbidden to read out. The minutes of the trial, as well as this declaration, constitute one of the axes of this exuberant show.

Fondation Fiminco
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Rabih Mroué, Anne Teresa De Keersmaeker
A little bit of the moon

DancePerformance Portrait
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As part of a special invitation by the Festival d'Automne, choreographer Anne Teresa De Keersmaeker and director Rabih Mroué shared, over the course of ten months, their thoughts, concerns, doubts, and questions regarding politics, art and life. After numerous exchanges by videoconference, the two artists now come together on the site of the former industrial complex, the new home of the Fiminco Foundation. Together, for the duration of a performance, they will be drawing up the plans for a new world for all.

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Theatre
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Performance Focus
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Lina Majdalanie, Rabih Mroué
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Theatre Portrait
Buy tickets

Who is Diyaa Yamout, the Lebanese human rights activist, artist and blogger whose suicide shook the nation? We will never really know and this is not what matters. Indeed, what is far more fascinating here is the profusion of assorted reactions on Facebook, the television, and in the form of SMS and answering machine messages