Joël Pommerat
Les Petites Filles modernes (titre provisoire)
decemberdec 18 - january – jan 18
© Agathe Pommerat ©
© Agathe Pommerat ©
© Agathe Pommerat ©
Thursday december 18
19h30
Friday december 19
19h30
Saturday december 20
18h30
Sunday december 21
15h30
Tuesday december 23
18h30
Wednesday december 24
15h30
Friday december 26
18h30
Saturday december 27
18h30
Monday december 29
18h30
Tuesday december 30
18h30
Friday january 2
18h30
Saturday january 3
18h30
Sunday january 4
15h30
Tuesday january 6
19h30
Wednesday january 7
19h30
Thursday january 8
19h30
Friday january 9
19h30
Saturday january 10
18h30
Sunday january 11
15h30
Tuesday january 13
19h30
Wednesday january 14
19h30
Thursday january 15
19h30
Friday january 16
19h30
Saturday january 17
18h30
Sunday january 18
15h30
Tuesday january 20
19h30
Wednesday january 21
19h30
Thursday january 22
19h30
Friday january 23
19h30
Saturday january 24
18h30
A theatrical creation by Joël Pommerat. With Éric Feldman, Coraline Kerléo, Marie Malaquias. Scenography and lighting by Éric Soyer. Artistic collaboration Garance Rivoal. Assistant director David Charier. Technical direction Emmanuel Abate. Assistant technical direction Thaïs Morel. Costumes Isabelle Deffin Perruques Julie Poulain. Sound creation Philippe Perrin, Antoine Bourgain. Video creation Renaud Rubiano. Original music Antonin Leymarie. Sound management Philippe Perrin, Antoine Bourgain. Video management Grégoire Chomel. Light Management Gwendal Malard. Plateau Management Pierre-Yves Le Borgne, Jean-Pierre Constanziello, Inês Correia Da Silva Mota. Dressing Lise Crétiaux. Reinforcement costumes Jeanne Chestier. Reinforcements plateau Lior Hayoun, Faustine Zanardo.
Production Compagnie Louis Brouillard
Coproduction Théâtre National populaire; Châteauvallon-Liberté, national stage; Mixt, arts field in the Loire-Atlantique region; Les Tréteaux de France – Centre dramatique national; Théâtre Nanterre-Amandiers – CDN; Espaces Pluriels – National interest stage Art and creation for the dance of Pau; Festival d'Automne in Paris; L'Azimut; Théâtre Le Canal à Redon et la Drac Bretagne – ministère de la Culture; Théâtre Le Bateau Feu Scène Nationale Dunkerque; Le Théâtre de Suresnes Jean Vilar; Théâtre français du Centre national des Arts (Ottawa); National Taichung Theater (Taiwan)
The Compagnie Louis Brouillard has a contract with the Drac Île-de-France – Ministère de la Culture and the Région Île-de-France
Joël Pommerat and the Louis Brouillard company are associated with the Théâtre Nanterre-Amandiers – CDN, La Coursive – Scène nationale de La Rochelle, and the Théâtre National Populaire
The texts of Joël Pommerat are published by Actes Sud-Papiers
The Théâtre Nanterre-Amandiers – CDN and the Festival d'Automne à Paris are co-producers of this show and present it as a co-production.
With the support of
In his new latest piece, Joël Pommerat delves deep into the mysteries of childhood. In fairy tale-like manner, he sets up an encounter between two young girls as they prepare to confront the ways of the real world and stand up against the authority of adults. Shifting between fantasy and reality, they struggle to preserve the link between them in the face of the overriding norms.
Drawing on both theatre and the novelesque, in his latest piece Les Petites Filles modernes, Joël Pommerat develops a hybrid form in which events are recounted and experienced simultaneously. The different events he brings to the stage are both serious and innocent, and the only means by which these characters can deal with the inconceivable realities awaiting them is to escape into the world of the supernatural. The unwavering friendship between these two children enables the director to continue his exploration of intergenerational ties. Can any of childhood’s supernatural powers oppose the authority of adults? In contrast to Cinderella, which consisted of a deconstruction of the fairy tale-like, Joël Pommerat and the Compagnie Louis Brouillard now choose to fully embrace it. Here, the magical, the fantastical and the supernatural are neither kept at a distance nor parodied. On the contrary, they are taken very seriously indeed. Lived out to the full, they become the driving force of this theatrical experience.
In the same place