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On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

On aura tout © Christophe Raynaud de Lage

 

Presentation

  • No emancipation can happen without the use of language, that most precious of common goods. When the fight for ideas becomes poetry, when turns of phrase draw the attention and scansion hits the audience in the heart, the orator has won. Of course, one must act—rights require more than words to defend them—but the non-violent power of public speech, when it is rich and beautiful, is enough to strengthen dignity and equality. Placed by Christiane Taubira in a place beloved by the greatest writers and turned into a series by Anne-Laure Liégeois; actors, inhabitants of Avignon, and the students of the Conservatoire national supérieur d'art dramatique give voice to texts originally said or published during the most noble of fights. Articles, poems, essays, fiction—writing takes many forms when men and women, scholars or politicians, philosophers or lawyers, have a goal in mind: the inscription into law of a new liberty. Someone steps in front of others to speak. Auditoriums, amphitheatres, tribunes, or stages: politics and theatre take place in the same locations. The Ceccano garden, this public place, once again becomes the stage and agora where unfolds the story of the fight through words, a struggle which has more often than not determined the very organisation of society.

     

    Christiane Taubira
    If Christiane Taubira refuses to call herself an author, she has always experienced, within the political fights that have been the foundation of her life, an irresistible pull towards writing. Other people's writing at first when, as a child, she devoured texts that made dignity and open-mindedness the pillars of her life. The writing of poets, too, which often comes back to her when she has to speak in public or give an argument, and serves as a springboard to give further resonance to the convictions she aims to defend or share. Her own writing, finally, when, seized by what she calls a “vital summons,” she writes urgent and candid essays (L'Esclavage raconté à ma fille, Mes météores, Rendez-vous avec la République, Nous habitons la Terre) to oppose elements of understanding to a world in upheaval and to remind us, through the power of words, of the existence of a community of humans.

     

    Anne-laure Liégeois
    After studying classical literature, Anne-Laure Liégeois joined the world of theatre by translating and directing a play by Seneca, The Feast of Thyestes, which gave its name to the company she founded in 1994. Wanting to explore new places and to bring together many artists, she created Christian Rullier's Le Fils (The Son) for fifty actors in closed-down industrial spaces; Ça (It), which brought together writers and actors in open-air chambers; and Embouteillage (Traffic), staged in actual forests and along cliffs, which brought together 27 writers and won over the audience of the Festival d'Avignon, watching from their cars... Appointed as director of the Centre dramatique national in Montluçon in 2003, Anne-Laure Liégeois alternates between directing great classics and close collaborations with contemporary writers. She not only creates the scenography and costumes for her shows, but she also works on the music. Since 2011, she has been invited four times to direct the troupe of the Comédie-Française, and has become associated with Le Volcan, in Le Havre.

  • Distribution

    Texts (TBC) Hannah Arendt, Antonin Artaud, Bertolt Brecht, Albert Camus, Aimé Césaire, Léon-Gontran Damas, Mahmoud Darwich, Charlotte Delbo, Marguerite Duras, Asli Erdogan, Frantz Fanon, Jean Genet, Victor Hugo, Jean Jaurès, Alphonse de Lamartine, Pablo Neruda, Marie Nimier, Olivier Py, Rainer Maria Rilke, Bertrand Russell, Georges Séféris, Nina Simone, Virginia Woolf...
    Conception Christiane Taubira, Anne-Laure Liégeois
    Dramaturgy and setting game Anne-Laure Liégeois
    Assistantship Camille Kolski, Roxane Isnard

    With theater-loving citizens and students of the Conservatoire national supérieur d'art dramatique
    And Sophie Bourel, Olivier Dutilloy, Paul Pascot, Nelson-Rafaell Madel

    Production

    Production Festival d'Avignon
    With the support of Fondation SNCF, sponsor of the theatrical serie in the jardin Ceccano, SACD, Fijad
    In collaboration with the Bibliothèque Ceccano
    Workshops at FabricA du Festival d'Avignon

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