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All you need to know

  • by William Shakespeare

    Direction THOMAS JOLLY

    Rouen

  • > La FabricA

    2014 unabridged version

    Running time estimated running time 18h including intermissions

  • Prices : from €47 to €10

    Light meals and beverages available at the venue.

    "Henry VI" is published in "Œuvres complètes III : Histoires I", by éditions Gallimard, Bibliothèque de la Pléiade, translated by Line Cottegnies.

 

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Images

Henri VI © Nicolas Joubard

© La Compagnie des Indes

Henry VI Photo de répétition / © Christophe Raynaud de Lage

Henry VI Photo de répétition / © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

Henry VI © Christophe Raynaud de Lage pour le Festival d'Avignon

 

Presentation

  • A heroic saga, a historical epic, an endless theatrical adventure, a dramatic odyssey... How to describe this event that breaks with what we are used to seeing and forces us to forget the conventions of a theatre that sometimes seem to wilt and wither, to suppress itself? Thomas Jolly offers to what he calls the “ephemeral community” made up of actors and of the audience the opportunity to take part in an eighteen-hour performance to follow, almost step by step, the life of King Henry VI. Three plays and fifteen acts, a hundred and fifty characters (be they historical or a product of the author's imagination), to take us through two wars and the various family conflicts that marked the reign of this king, much too kind and too pious. Amidst the chaos of a time of upheaval, between the end of the Middle Ages and the struggling beginnings of the modern era, William Shakespeare created a complex trilogy. Thomas Jolly and his actors choose to make it theirs and to offer a genre-bending show. They create a universe in which historical landmarks fade away and reject the temptation of reconstitution, using every genre at their disposal, from farce to burlesque, from comedy to tragedy, to invite us to a celebration of the theatre. A thrilling and energetic theatre, built with simple means. A theatre that can but heighten the power of Shakespeare's words. A “popular” theatre, in the way Victor Hugo understood it: “There are two ways to elicit passion in a crowd at the theatre: by showing them a grand spectacle, or by showing them the truth. Spectacle will grab the masses. Truth grabs the individual.”

    After graduating from the drama school of the Théâtre National de Bretagne in Rennes in 2006, Thomas Jolly got a few students together to create a working group, a company he named Piccola Familia. It was the beginning of an adventure whose central artistic goal was to create a theatre that would be “challenging, popular, and festive,” aimed at an audience made up of people of all backgrounds and all ages, using every tool theatre has to offer: Marivaux's Arlequin poli par l'amour (Arlequin, refined by love), Sacha Guitry's Toâ (which was awarded the Prix du public at the “Impatience” Festival of the Odéon-Théâtre de l'Europe in 2009), or pool (no water) by contemporary author Mark Ravenhill. It was in 2010 that Thomas Jolly decided to begin the surprising adventure of adapting William Shakespeare's Henry VI, a colossal project through which his company asserts that one shouldn't be afraid to struggle and resist against the “standardisation” of cultural objects. This project required four years of work and also gave birth to H6M2, meant to be played on a six-square-metre stage and to offer a forty-five-minute hook, an introduction to a larger proposition that will bring actors and audience together for eighteen hours.

    The Wars of the Roses
    The Wars of the Roses, which turned England into a bloody battlefield between 1455 and 1485, finds its origins in a dispute over succession between two branches of the House of Plantagenet, who had ruled England since 1216: the Houses of Lancaster and York. Related by blood as direct descendants of King Edward III, they were nonetheless torn apart by ambition during the tumultuous reign of King Henry VI, a Lancaster. It was his cousin Richard, Duke of York, who opened hostilities in 1455, allowing his son to become King Edward IV in 1461, after deposing Henry VI. The House of York would then rule England, amid continuing conflict, first with Edward V, then with the ruthless Richard III, until the throne was claimed by Henry Tudor. A Lancaster, Henry VII would marry Elizabeth of York, daughter of King Edward IV, sister of King Edward V, and niece of King Richard III...

    Jean-François Perrier, avril 2014

  • Distribution

    Direction and scenography Thomas Jolly
    Direction assistant Alexandre Dain
    Translation Line Cottegnies
    Dramaturgy collaboration Julie Lerat-Gersant
    Lighting Léry Chédemail, Antoine Travert, Thomas Jolly
    Music and sound Clément Mirguet
    Costumes Sylvette Dequest et Marie Bramsen

    With 
    Johann Abiola, Damien Avice, Bruno Bayeux, Nathan Bernat, Geoffrey Carey, Gilles Chabrier, Eric Challier, Armand Chomant-Planson, Alexandre Dain, Flora Diguet, Antonin Durand, Émeline Frémont, Damien Gabriac, Thomas Germaine, Thomas Jolly, Nicolas Jullien, Pier Lamandé, Martin Legros, Julie Lerat-Gersant, Olivier Leroy, Jean-Baptiste Papon, Charline Porrone, Jean-Marc Talbot, Manon Thorel, Antoine Travert

     

    Production

    Production La Piccola Familia, Théâtre National de Bretagne, Rennes

    Coproduction Le Trident Scène nationale de Cherbourg-Octeville, Les Gémeaux Scène nationale de Sceaux, Comédie de Béthune Centre dramatique national Nord-Pas de Calais, Théâtre de l'Archipel Scène nationale de Perpignan, Le Bateau Feu Scène nationale de Dunkerque, Scène nationale Évreux Louviers, TNT Théâtre National de Toulouse Midi-Pyrénées, TAP Théâtre Auditorium de Poitiers, Quai des Arts-Argentan dans le cadre des Relais Culturels Régionaux, Théâtre d'Arras Scène conventionnée musique et théâtre, Centre dramatique national de Haute-Normandie

    With the support of Ministère de la Culture et de la Communication, de l'ONDA, 
de l'ODIA Normandie, de la Fondation BNP Paribas, de la Spedidam et de l'Adami

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On tour

  • Châteauroux, France
  • le 08-03-2015
  • Equinoxe
  • Poitiers
  • le 15-02-2015
  • TAP
  • Poitiers
  • from 12-02-2015
    to 13-02-2015
  • TAP
  • Poitiers
  • le 08-02-2015
  • TAP
  • Poitiers
  • from 05-02-2015
    to 06-02-2015
  • TAP
  • Cherbourg-Octeville
  • from 15-01-2015
    to 17-01-2015
  • Le Trident
  • Cherbourg-Octeville
  • from 09-01-2015
    to 11-01-2015
  • Le Trident
  • Sceaux
  • from 13-12-2014
    to 14-12-2014
  • Les Gémeaux
    Scène nationale
  • Sceaux
  • from 10-12-2014
    to 11-12-2014
  • Les Gémeaux
    Scène nationale
  • Sceaux
  • from 06-12-2014
    to 07-12-2014
  • Les Gémeaux
    Scène nationale
  • Sceaux
  • from 03-12-2014
    to 04-12-2014
  • Les Gémeaux
    Scène nationale