Wichaya Artamat

The Dead Still Riot

Ménagerie de verre
octoberoct 9 – 12
Free

World premiere

Free admission before and after the performances of Organon

Thursday october 9

18h

Friday october 10

18h

Saturday october 11

16h

Sunday october 12

14h

Concept and direction Wichaya Artamat. Dramaturgy Pathipon (Miss Oat). Text Wiwat Lertwiwatwongsa, Jarunun Phantachat, Wajana Wanlayangkoon, Prontip Mankhong, Ratchapoom Boonbunchachoke,Thanaphon Accawatanyu. Sound creation Gandhi Wasuvichayagit. Installation design DuckUnit. Production Sasapin Siriwanij. 

Coproduction Festival d'Automne à Paris 
With the support of the Glass Menagerie

Le Festival d'Automne à Paris is the producer of this sound installation and presents it in co-realisation with the Ménagerie de verre. 

Director Wichaya Artamat, a major figure on the Thai theatre scene, returns this year with The Dead Still Riot, a sound-based new work interweaving tales of insurrection and violence through the ages. Six stories of ghosts from the past take us on a political journey across France and Thailand.

 

Ranging from the execution of Marie-Antoinette in 1793, to the massacre of pro-democracy demonstrators at the University of Thammasat in 1976, the 2005 riots in the French suburbs, and the death of a taxi driver opposed to the military coup of 2006, The Dead Still Riot brings together a series of significant episodes in the history of French and Thai popular uprisings, all of which have one thing in common, they all took place in October. Exploring in his work the ways in which a society remembers its history, Wichaya Artamat brings the dead to life through the voices of ghost-like narrators who deliver their own version of these violent events. Presented in the form of a sound installation, then as a six-part podcast, this collection of stories intertwines the political history of the two countries. In doing so, it examines the impact of insurrections and revolutionary symbols on our memories, from the barricades to guillotines. This audio drama is the first chapter in a long-term research cycle, the second instalment of which will take shape on the stage at the Festival’s 2026 edition.

In the same place