Showers At Summer Camp

- Score


In previous shows, I often sought to redefine the boundaries, to excite the paradoxes, to blur the lines between actor and character, reality and fiction. In addressing
Spring Awakening , I would continue to pursue this.

A question often arises: how to play children 14 years of players who have double?
This is not a default choice is biased staging. This difference is a strength, a true support of the game will not be subject to imitation. I would like to solicit the players remaining who they are, suggest and guess the child they were. There is no takeover of one over the other.
Kantor died in class, had assigned the roles of young schoolchildren to actors very old. In their back, they saw the corpse of their childhood. Here the distance is smaller, but the dialogue remains the same.

Looking through the room, I feel like an elk, a vitality, something instinctual that should be held accountable. I wish we could hear movement inside the actors (the beating of the heart, blood in the temples), that opens each scene and after a race and the breath is palpable. I would also like the sensuality expressed fully.
It seems to me to tell the child he would go through the body, the body discussed, but the body moving, dancing body.
For the first time, I want to link my work that of a choreographer. David Wampler, dancer and choreographer has often explored throughout his shows, the group's report against the individual, he also worked on a formal set of privacy.
In conjunction with this work, I explore the movement of a less cerebral, less narrative. I like to give life to this group of children other than through the text and dialogue, as in the interstices of the scenes the whole place is made to move and dance to find the throbbing, seething that seems internal text.

Music and sound will also important. Olivier Pasquet who works at IRCAM, has often worked on forms of musical theater, he recently worked with Aperghis for its machine parts. He will sign the soundtrack to Spring Awakening .

Visually, I guess for the actors to create a huge playground. Steep terrain because of bumps, holes, water holes, scaffolding ... A united space that can evolve separately considering a forest, a dump, a graveyard ... recreate the pace and atmosphere of the seasons: summer, autumn, winter spring. This will close the drawings of Henry Darger.

Numerous commentators Spring Awakening and I think particularly of Freud and Lacan, have mostly emphasized the feelings of children, the effect produced on them the awakening of sexuality. In this analysis, the repressive character played by parents and the values of bourgeois EDUCED are sidelined. It is an essential part. It's still the aspect that interests me the least, it seems almost obsolete. By working to adapt the piece, I sought to minimize the maximum the role of parents, but to make them exist as off-field, at least not to make them responsible for all the ills of their children. It is a radical bias. But it seems that things have changed dramatically over these issues. A stork is no longer a credible hypothesis, one click for an explanation much more plausible and more detailed evidence by the image.
By working with high school students, I realized that the drama that roamed the room (suicide, abortion, prison house of correction ...) had not lost their topicality. As in the play, we attends a failing education system, it simply educates more children today as a century ago.
I want to talk about today's children.

Wedekind's writing is radical, there is no complacency, Spring Awakening flirts with cruelty, but never forget the humor, the play allows himself lyricism, but n is not a shoddy lyricism. The characters have aspirations, they must still manage to resolve their contradictions.
Spring Awakening : The title carries with it the problem part. Awakening of consciousness, sensuality, sexuality ...
How to negotiate the turn?
is the age when one is no longer a child, it loses its status as an officially innocent, but that status did not he always been overused?
Spring: no season knows so much upheaval.
William Vincent

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SPRING AWAKENING OF SPRING AWAKENING


"I began to write without a plan, intending to write what amuses me. The plan of the piece came after the third stage and combined personal experiences and those of my comrades class. Almost every scene is a real event. "
F. Wedekind, Correspondence Address

Spring Awakening is not pull the thread of a story, but more is to confront a language and writing that allow themselves everything : tragedy, poetry, pathos, humor ...

In Spring Awakening , Wedekind noted this particular period if the child moves into adulthood. He is talking about change. Mutation
bodies but also souls, the unconscious is just beginning to reveal its secrets and consciousness must accommodate the harsh reality of the mysteries of procreation. These are concrete questions. Here, every one to take his party to get by but not as he wants as he can.
Do not rely on parents to inform, to say how it happens or how it's done: a stork, and the case is in the bag!
We are in the spring, the flowers are there, not fruit.

Melchior, Wendla, Moritz, Ilse, Martha, Hans, Thea, Ernst: these are the heroes (victims?) This Kindertragödie.
Martha pray that no more than the bat, while Wendla, her dream to know the sweetness of the whip. At sunset, two boys kissing, they project into the future would be well-millionaire Hans, Ernst, her pastor with his wife and children.
Moritz admits his ignorance about the mysteries of life, "Melchior improvised sex education teacher. Ilse has been
long gone from theory to practice, but already, she regrets the sweetness birthday parties.
is that spring does not spare our characters, two of them will find death. Wedekind and yet insists Regrets "By working, I put myself in mind of not losing the humor in any scene, whether she was serious ... We do not always want to see any humor. "The humor here is a valuable indication that brings a true reading of the play.

Published in 1891, the play caused a scandal and had to negotiate with censorship, we saw a quick to implement excite the lust of the spectator. Since we understand it better.
Brecht saw in a moralist Wedekind. On the sour side of the coin, it is actually moral issue, but also information. The whole system of good Prussian education is undermined. Ignorance is the worst vice and reality must be accepted as it is, albeit not according to our desires. Yet
Wedekind is not a theorist or destroyer because he always acts like a poet. With Lulu, The awakening of spring is one of his finest dramatic poems. Like all great works, it does ceases to fascinate and reveal its secrets, or rather to keep to themselves. Embark Spring Awakening is willing to make a trip whose destination is unknown, is to take all risks, starting with getting lost.
William Vincent

South Park Online Subtitles

for Wedekind, Lacan, Kutscher, Darga

FRANCK WEDEKIND
Questionnaire

Quality preferred in a man's temperament, energy
Quality preferably in a woman: intelligence
My idea of happiness: to be used according to his abilities
Main ability: inability to lie
Main: to tell the truth
Science favorite: the science of religions
Trend Art: Michelangelo, Titian Rubens, Makart
Company Preference: carefree and gay
insurmountable antipathy: the piano played badly
favorite writer: Schiller
favorite composers: Beethoven
Favorite book: Casanova
favorite instrument: the string quartet
favorite Heroes Poetry: Richard III
favorite Hero in History: Alexander the Great
Favorite color: red
Favorite food: fish, poultry, green salad
Favorite drink: a little wine country
Favorite sport: making theater
Favorite game: playing with the world
How do you live? not too bad
Your temperament melancholy
Your main trait: stubbornness, I hope
Currency: 2 X 2 = 4

Jacques Lacan
Preface to The Awakening of Spring, Gallimard collection

Thus a playwright in 1891 addresses the matter of what is for boys to have sex with girls, they did not think scoring without the awakening of their dreams. Remarkable
be staged as such: it is to demonstrate not be satisfied for all, to admit that if it misses, it's for everyone.
Suffice to say that is unheard of.

ARTHUR KUTSCHER
Wedekind, Leben und Werk

The dramaturgy of Wedekind is an dramatic lyrical tendencies, which do not meet the cutting tables which suffice to themselves, concentrates of life, which can contain multiple scenes, but also only a few sentences, when it comes to evoking an atmosphere particularly intense. Thus the moments are more or less autonomous, and we see no real common thread: the only stages of development, perhaps a mosaic. There is no action in the usual sense. Cohesion born of increasing intensity, a stepwise progression of events, organization charts with their effect of parallel and contrast, or even those that do no movement is important. What gives the form its necessity.

Henry Darger
Drawings The old man died in 1973 at age 81 at the hospice. Diver in the kitchen of a hospital, he had lived 40 years in a single room in a boarding house, without heirs, he bequeathed all his property to his landlord. He lost his mother to 4 years, nicknamed "Crazy" from his childhood, he was placed in 8-year pension, then 12, caught masturbating in public, in an institution for mentally disabled: there seems to have suffered the worst abuse, and he fled to 17 years old when his father died. Very devout, considered a bit "cheesy" by his neighbors, he had only one friend, also marginal to it, and lived in seclusion in his room, his application of adopting a little girl was refused. He was also obsessed with the weather (as Kosek).

After his death, his landlord entered his room and, amid a jumble indescribable, discovered thousands of pages and hundreds of watercolors and illustrations, his work, The Story of Vivian Girls, episode what is known as the Realms of the Unreal, of the violent war-glandéco Angelinnian, caused by the Child Slave Rebellion. He started writing in 1910, traumatized by the tragedy happened to a little girl kidnapped and raped (and having lost the photo of this little girl, he kept religiously), and it illustrates from 1918. Darger shows us scenes of shocking brutality, but where the characters are angelic little girls in idyllic settings, always the same face without expression, without individuality. His paintings are merely apocalyptic violence, abuse, strangulation, evisceration. On one of them (detail above), worthy of a Massacre of the Innocents, the blood is flowing, girls are hanged, disemboweled, stabbed, crucified (one upside down), choked by lassos; throne amidst an anatomical drawing of viscera taken from a medical encyclopedia. The main theme is of course the struggle between good and evil, Christianity and paganism, girls pure and terrible enemy, is the loss of the golden age, and efforts to find him by martyrdom, by the accession to holiness.

All drawings are covered in soft colors, soft; Darger, drawing badly, glue or decal patterns illustrated catalogs or childish collected in bins. It ignores the prospect, his story in a single plate panorama. He invents a geography, place names, flags, uniforms inspired by the independence war or civil war. A drawing of cave shelter to unfathomable depths, full of thundering sounds and smells sweet, is invaded by black ink devouring the whole page.

We will discuss in turn Goya, Callot, Norman Rockwell Chapman brothers or Glen Baxter, but it should be called Sade to the rescue.

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GUILLAUME VINCENT (Director)
Before joining the School of NER in the section Staging in 2001, he obtained a DEUST of Theatre Studies and a Bachelor of cinema. He climbs Double inconstancy
Marivaux (presented at the biennial Theatre du Gymnase in 1999.) In Marseilles, he has played under the direction of Hubert Colas.
part of his schooling at TNS, he completed internships with Stéphane Braunschweig, Romeo Castelluci, Krystian Lupa, Daniel and Olivier Py Jeannetteau.
He co-adapts with Marion Stoufflet and staged The Waves by Virginia Woolf in 2002, included in the Festival Stage Set for SBT in November 2004. During his last year of school, he directed The False next Marivaux, taken on tour from August to December 2005, including the People's Theatre in Bussang
and Théâtre de la Cité Internationale in Paris in 2005 still ... he participated in the First Festival NER I think I could ever, a show designed by the devil probably Robert Bresson.
He plays under the direction Vincent Macaigne in Requiem 2.
He directed in 2006, We the heroes Lagarce to TNS, including back to the NSC Orleans.
It features Berthier Festival 07, Love Story (Last chapter) Lagarce.
In 2008 he participated in numerous performances with the group must burn to shine.
It is in preparation of the Opera The foreign Bastien Gallet libretto with music by Frederick Verrieres. Project with the Theatre des Bouffes North, 2009. It is also an associate artist of the Comédie de Reims, direction Ludovic Lagarde.

DAVID Wampach
(Choreographer)
Studied medicine at the University of Montpellier (96-97), the theater at the University of Aix-en-Provence (98) and the Conservatory of Marseilles (98), then dance. Following the training provided by the company Coline in Istres (99), the National Choreographic Center of Montpellier directed by Mathilde Monnier, training ex.er.ce (00), and finally to the party led by Anne Teresa de Keersmaeker (Brussels, 01). On the occasion of training, he meets practices Steve Paxton, Lisa Nelson, Julyen Hamilton, Vera Mantero, Mark Tompkins, Patricia Kuypers and Simone Forti. Following the formation of choreographic culture proposed by Laurence Louppe (from 2004 to 2006). Working with Anne Lopez, Thierry Bae, Mitya Fedotenko, Christian Bourigault, Mathilde Monnier, Julie Brochen, Odile Duboc, João Fiadeiro, Alain Michard, Catherine Contour, Christian Rizzo.
He built his personal approach he enrolled in the association with lambda Achlès if I include myself, kappa Itself The Pieces (2001), established in Brussels, RA D ES (2003), co-authored with Pierre Mourles duo, circumference C is (04), winner of the Solo Mio and the Biennale of Young Artists from Europe and the Mediterranean, it creates FLIP (2005).
In 2007, he presented fourteen, the Montpellier festival Dance 2007.
In 2008, during meetings choreography of Saint-Denis and Dance Festival d'Uzes, it offers AUTO, his latest creation.

AUTO
AUTO
FOURTEEN



Olivier Pasquet (his Creator)
Olivier Pasquet is an electronic music composer and producer. From 1996 to 1999, he studied composition at Cambridge, where he also teaches writing electro. Since then, he devoted himself to composition with multiple orders. It particularly interested in algorithms and interpretation using meta-compositional systems based on generalized philosophical principles such as harmony. It conducts research on writing text or spoken sound in the theater and music. Since 1999, IRCAM and elsewhere, he collaborated with composers in the electroacoustic and computer realization of their projects. He collaborated with George Aperghis Pauset Brice, Mauro Lanza, Ludovic Lagarde, William Forsythe, Rand Steiger ... It's also music or IDM Electronica.
Since 2006, he taught art and interactive design to computational ENSAD.
With François Sarhan, he formed the electronic band Jacqueline. He was one of the instigators of the alternative festival ResOFFnance and is the organizer of the workshop European Max / MSP / Jitter Andreas Breitscheid in 2006 with the FNM, Stuttgart. More information about
www.opasquet.fr/

INTEPRETATION:

EMILIA-INCERT Formentini
Before joining the School of NER in 1999, she took courses from the School du Rond-Point des Champs Elysee and the Ecole de Chaillot. She worked with Michelle and Abbes Zahmani brand in honorable scoundrels.
Out of School in 2002, she joined the troupe and played in the TNS Family Schroffenstein Kleist, created by Stephane Braunschweig and under the leadership of Laurent Gutmann News Plateau S. Oriza of Hirata.
She then worked with Yann-Joël Collin Violence Gabily Didier Georges (2003), with Hedi Tillette de Clermont Tonnerre in Marcel B. (2004) and Manon Savary in L'Illusion comique of Corneille (2006).
In 2006, she appeared in We, the heroes and love stories Lagarce, directed by William Vincent.

FLORENCE JANAS
She entered the National Conservatory of Dramatic Art in Paris in 2001.
Since leaving school, she played under the direction of Gilberte Tsai (The Gay Science, Villeggiatura Bailly and Valletti), Christian Benedetti (The Belgrade Trilogy by Biljana Srlbanovic and Stop the tempoI of Gianina Garbunariu.) Jean-Baptiste Sastre (The Italian Straw Hat by Labiche)
It plays several times under the direction of William Vincent in The Double Inconsistency of Marivaux, We the heroes and love stories Lagarce.
In film, she played in the city is quiet A. Guédigian, The parallel Nicolas Saada and the location ideal Brigitte Sy. On television, she played in the great Charles de Bernard Stora.
In 2007, she is young talent ADAMI in Cannes, she turns on that occasion a short film directed by Matthieu Amalric: Santa and pizza.
This season, she starred in Chekhov's Ivanov, directed by Philippe Adrien, she will star in the comedy-French for Gemstone ridiculous Molière, directed by Dan Jemmett.


PAULINE Lorillard
Before joining the School of NER in 2001, she attended the theater of the professional class at the Conservatoire National region of Bordeaux.
Upon leaving school, she joined the cast of TNS and played three times under the leadership of Stéphane Braunschweig Brand in Ibsen, Chekhov's three sisters and recently in Le Tartuffe by Molière.
It plays twice under the direction of William Vincent in Waves by Virginia Woolf and the next false Marivaux.
She also played in Korea, created by Balazs Gera and in The objector Michel Vinaver directed by Claude Yersin.
can see it in the short film Raphaëlle Rio, The Sleep of Anna Cairo.
This season she will play at the Theatre National de Chaillot in a staging by Vincent Macaigne, Idiot! by Dostoyevsky.

NICOLAS MAURY
He studied at the Conservatoire National de Region de Bordeaux before joining the National Conservatory of Dramatic Art in Paris in 2001.
He plays on numerous occasions under the direction of Robert Cantarella (The House of the Dead, It goes Minyana, Hyppolite Garnier, Jealousy of smeared Molière, A beautiful day Renaude.) Florence Giorgetti (I Sleep want to Feydeau, That Philip Minyana), Philippe Minyana (We can not think of any de Musset, Suite staged by the author.) He also played with Fred Fisbach, The sheets Hyptnos Rene Char, for the Festival d'Avignon 2007.
He plays two texts Lagarce with Guillaume Vincent, and We Love story, heroes.
In film, he played in Those Who Love Me Can Take the Train by Patrice Chereau, Question of Choice Thierry Binisti, Regular Lovers Philippe Garrel, Emanuelle Bercot Backstage, Paris, I love you with Olivier Assayas La question humaine by Nicolas Klotz, Let's Get Dancing! Noemie Lvovsky, in shorts and Michael Antonio Hébrard Buch. It will soon be on display The film college in Riyadh Sattouf.

JUDITH MORRISSEAU
Before joining the School of NER in 2001, following the formation of ENSATT in Lyon.
In 2004, she starred in Who is not working not eating, theater review the gulag, designed and directed by Judith Depaule (Theatre de Gennevilliers), she finds the show in 2008 to Gagarin.
In 2005, she participated in a formal landscape space under surveillance by Heiner Müller performed by Aurélia Guillet under the First Festival. She plays under his direction after Kleist Penthesilea Landscape and Müller, then burned the house of Strindberg. She also plays under the direction of Claude in Duparfait Titanica Sébastien Harrisson.
She sings and plays in The Périchole Hoffenbach, directed by Julie Brochen, created in July 2007 at the Festival of Lyric Art of Aix-en-Provence.

PHILIPPE Orivel
He joined 14 years at the Paris Regional Conservatory class of harpsichord, he obtained a prize in musical training in 2002. Along with his musical studies, he studied drama at the Conservatory of the seventh arrondissement of Paris with Daniel Berlioux from 1999 to 2001.
He works since 2002 with various theater companies, as an actor, composer and musician, including Sylviane Fortuny and Philippe Dorin, they married and had a lot ..., William Vincent, I think I will never, Cyril Bourgois Zmorda Chkimi Company naked eye as Francis Xavier Frantz in My Mouth and Dog Heaven, my love, my prey dying of Werner Schwab and with Nadia Vader in Motion & Motion dance creation.
He practices several musical instruments such as piano, harpsichord, accordion, violin and guitar and also singing. He performs regularly in solo and lead a contemporary music festival in the Lorraine region.

CYRIL TEXIER
Before joining the School of NER in 2001, he studied at the School of interpretation of the Theatre National de Chaillot. On leaving school he played under the direction of Claude Duparfait (Titanica Sebastian Harrison), Aurélia Guillet (Kleist Penthesilea landscape and Strindberg's The Burnt House), Matthew Jocelyn (architect David Greig.)
He played in I think I could never post Bresson and Waves by Virginia Woolf, directed by William Vincent. Edited by Hubert Colas, he played in Shakespeare's Hamlet and without hunger 1 and 2 directed by the author.
He recently starred in Republic of Pierre-François Pommier, staged by the author.
This season he will play Knives in Hens by David Harrower, directed by Thibault Lebert the TNBA

CREW :

Alexandre de Dardel
(Scenography)
Architect training ( graduated from the Special School of Architecture). He collaborated in the research department of the theater scenery Amandiers Nanterre from 1992 to 1994, then at the Theatre du Chatelet in 1994 to 1996. Since
1995, he collaborated in the creation of all stage sets the stage director Stéphane Braunschweig.
He works regularly with Antoine Laurent Gutmann also Bourseiller, Noel Casale, Vincent Ecrepont, Cecilia Backe, Francois Wastiaux Alain Ollivier, Yves Adler
... Recently he has worked with Jean-François Sivadier Woyzeck on the opera by Alban Berg at the Opera de Lille. He also worked as production designer for films in Andalucia Alain Gomis.

MARION STOUFFLET
(Dramaturgy)
After a DEA Theatre Studies, MA English and philosophy degree, she entered the Drama section of the school of TNS in September 2001.
Through school, she clerked with GB Corsetti and R. Cantarella. Under the Frictions Festival in Dijon in 2003, she was Assistant to the staging of T. Preston King Lear by Shakespeare. She also worked as stage manager on travel Dumbtype at REDCAT (Los Angeles).
On leaving school, she resumed the work of adapting the novel by V. Woolf, Waves and collaborates False Next directed by G. Vincent.
She works with JF on Peyret Variations Darwin established in2004 at Chaillot and continued this collaboration at its inception in July 2005 in Case Sophie K at the Avignon Festival.
In 2006 she began working with Ludovic Lagarde on Exhibit A sports Jelinek.