Rabih Mroué

Who’s Afraid of Representation?

Theatre Portrait
Théâtre de la Ville – Sarah Bernhardt
septembersept 23 – 28

1h

In French and Arabic, with French surtitles

Prices € 8 to € 23
Subscribers € 8 to € 21

Théâtre de la Ville – Sarah Bernhardt

Monday september 23

19h00

Tuesday september 24

19h00

Wednesday september 25

19h00

Thursday september 26

19h00

Friday september 27

19h00

Saturday september 28

16h00

A performance by Rabih Mroué. Written and directed by Rabih Mroué. With Lina Majdalanie. Set design Samar Maakaroun. Technical director Thomas Köppel. Assistant Racha El Gharbieh. Translation Catherine Cattaruzza.

Production The Lebanese Association for Plastic Arts, Ashkal Alwan (Beyrouth) ; HAU Hebbel am Ufer (Berlin) ; Siemens Arts Program ; CND Centre national de la danse
With the support of Tanzquartier Wien GmbH

The Théâtre de la Ville-Paris and the Festival d’Automne à Paris are presenting this show in co-realisation. 

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.

Lina Majdalanie and Rabih Mroué share these testimonies with us, alternating between them in a playful manner. The actions are merely described: who would be afraid of representation when it, like Body Art, seeks to reconstitute the unbearable, by inviting spectators to witness these reproductions of violence at its most realistic? In their quest to find a theatrical style capable of engaging with the experience of civil war, it is unsurprising that the Lebanese duo has drawn upon this radical phase in the history of Western art. First performed in 2005, the piece reactivates the memory of this current of performed violence, and which is of a much lesser kind than the violence of war zones and which often inspired it. The homage is a timely and invigorating one, and the evocation of these extreme artists who question the power and meaning of representation in reaction to an intolerable reality continues to have an impact on us half a century later. 

Interview with Lina Majdalanie & Rabih Mroué

See also

Lafayette Anticipations – Fondation Galeries Lafayette
septembersept 20

Rabih Mroué
Make Me Stop Smoking

ConferenceTheatre Portrait
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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
Buy tickets

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
Buy tickets

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 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
octoberoct 22 – 25

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
novembernov 13 – 16

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

Lina Majdalanie, Rabih Mroué
Riding on a cloud

Theatre
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. Rabih Mroué makes frequent use of the former concept in order to create presentations which adopt the various mechanisms of the conference format whilst opening them up to the various possibilities of performance. In doing so, the duo plays upon the ambiguity which is inherent in this form of subversion. Added to this, for the first time, is an artistic proposition featuring poems set to music.

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

ConferencePerformance Portrait
Buy tickets

The Lina Majdalanie and Rabih Mroué duo presents two “non-academic conferences” and a concert-performance in collaboration with Rima Khcheich. Rabih Mroué makes frequent use of the former concept in order to create presentations which adopt the various mechanisms of the conference format whilst opening them up to the various possibilities of performance. In doing so, the duo plays upon the ambiguity which is inherent in this form of subversion. Added to this, for the first time, is an artistic proposition featuring poems set to music.

Fondation Cartier pour l'art contemporain
decemberdec 2

Lina Majdalanie
Appendice

ConferencePerformance Portrait
Buy tickets

The Lina Majdalanie and Rabih Mroué duo presents two “non-academic conferences” and a concert-performance in collaboration with Rima Khcheich. Rabih Mroué makes frequent use of the former concept in order to create presentations which adopt the various mechanisms of the conference format whilst opening them up to the various possibilities of performance. In doing so, the duo plays upon the ambiguity which is inherent in this form of subversion. Added to this, for the first time, is an artistic proposition featuring poems set to music.

CENTQUATRE-PARIS
decemberdec 4 – 8

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
decemberdec 16 – 20

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.

In the same place

Théâtre de la Ville – Sarah Bernhardt
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Anne Teresa De Keersmaeker, Radouan Mriziga / Rosas, A7LA5
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In collaboration with the choreographer and dancer Radouan Mriziga, the challenge taken up by Anne Teresa De Keersmaeker is to make Vivaldi's Four Seasons heard, using the tools of dance to hone the way we listen to this baroque masterpiece. Under the auspices of abstraction, the resulting alliance reconnects with the imaginary ecological world that is conjured up by this famous concerto.

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At the crossroads between musical and documentary, Lola Arias brings us a choral composition in which six female former inmates talk about their lives during and after incarceration. Their six intertwining destinies raise questions about the various forms of violence present in contemporary society, whilst exploring the margins of fiction and reality at the same time.

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The hero of this new work by Robert Wilson is Fernando Pessoa. And a paradoxical hero at that. The Portuguese poet spent his life 'multiplying himself', inventing heteronyms, or fictitious authors, to whom he attributed works he himself wrote. He even went as far as to invent relationships, either amicable ones or from master to disciple, between his different avatars.

Théâtre de la Ville – Sarah Bernhardt
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In this breakthrough piece for Jan Martens, VOICE NOISE brings together six dancers to shape a soundscape comprising some of the great female performers and composers of our time. In his own pop-inspired and precise way, the choreographer questions a very contemporary story, and in doing so raises the question of how some of these voices were silenced.