In a large white room, a woman and a man are talking. He speaks first. She listens, attentive, and answers him with a second monologue. They bring up their separation, talk about now and before. Her name is Audrey Bonnet. His is Stanislas Nordey. If their fictional characters bear the actors' first names, it is because this show was written for them. For them, and for no one else. For their bodies, for their way of speaking, for what they are in the author and director Pascal Rambert's imagination. It is simple even if the intimate account here is not that of the real Audrey Bonnet and Stanislas Nordey. It is precisely in this movement of distance that the tension of relationships, the strangeness of acknowledgment, the confusion of discrepancy are at stake. To the question: "Who do we love when we love?" Pascal Rambert does not provide a pat answer. He circulates through all the possibilities. He does not reject the clichés that those who break up, who look for the reasons of disaffection, who rewrite memories and embellish them, use at least once before destroying everything with a few fatal sentences. The uninterrupted flow of words, the successive questions and answers, the choking, in a sort of marathon between fear and relief: it is here, in the heart of this painful moment, that Pascal Rambert puts us, having no fear of disturbing, of creating doubt, of tossing us about in the twists and turns of a story that inexorably leads to the break-up and, perhaps, to another life. In the brutality of omnipresent words, in the incredible rigour of a cold and lethal writing, a ruthless battle unfolds. Stanislas attacks and Audrey must fight against the annihilation he wants to impose on her. They have the same weapons but do not use them in the same way. There is the masculine and the feminine. There are two viewpoints, two silences, two speeches to describe the violence of a dying love. JFP
The text "Clôture de l’amour" will be published by éditions Les Solitaires Intempestifs.
Distribution
Text, conception and direction Pascal Rambert
Scenography Daniel Jeanneteau
Fineries La Bourette
Music Alexandre Meyer from the song Happe of Alain Bashung interpreted by the Chorale des enfants du Conservatoire de Gennevilliers
Lighting Pascal Rambert, Jean-François Besnard
With Audrey Bonnet, Stanislas Nordey
And Sabrina Aggoun, Mériam Azzouz, Inès Bkhir, Mathis Cornuet, Pacôme Courty-Coudeyras, Farah El Kasseh, Inès Jean-Baptiste, Arkane Kaloul, Christian Li, Céline Li, Zakarya Mahcer, Manon Moulin, Morane N'Diaye, Maéva Pereira Dias, Albin Salmon, Mélaine Wang
Together with Laszlo, Maya and Nora
Production
Production Théâtre de Gennevilliers Centre dramatique national de création contemporaine
Avec le soutien de la Région Île-de-France, des services culturels et des séjours éducatifs de la ville de Gennevilliers