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Images

Ricercar © Christophe Raynaud de Lage / Festival d'Avignon

Ricercar © Christophe Raynaud de Lage / Festival d'Avignon

Ricercar © Christophe Raynaud de Lage / Festival d'Avignon

Ricercar © Christophe Raynaud de Lage / Festival d'Avignon

 

Presentation

  • François Tanguy's theatre career is inseparably linked with that of his company the Théâtre du Radeau with which he has invented all his creations since 1982. Genuine ongoing research on theatre performance, constantly renewed questioning of “the possibilities of dramaturgy”, the issue here is art and not communication, playful curiosity and not entertainment. A theatre art claimed as such, theatre where one must “be together” to visit theatre time and place. Each work by François Tanguy and the Théâtre du Radeau is the result of a patient and collective approach, comprised of a search for texts, music and acting improvisation, which explains why the creations are so few in number. From Mystère Bouffe (Grub Mystery) in 1986 to Ricercar in 2007, a unique body of work is offered to us, a work that slowly makes its way forward. Jeu de Faust (Faust Game, 1987), Woyzek-Büchner, fragments forains (Woyzek-Büchner, Fairground fragments, 1989), Chant du bouc (Goat Song, 1991), Choral (1994), Bataille du Tagliamento (Battle of the Tagliamento, 1996), Orphéon (1998), Les Cantates (2001) and Coda (2004) are so many phases, so many evaluations of a research that constantly intertwines all the elements of theatre performance.

    A demanding and generous artist, François Tanguy takes the time needed for his ambitious projects that he executes with passion. For Ricercar, he has once again brought together a group of actors and technicians to create a theatre of resistance with methods, with superficial entertainment facilities, with sectarian theories, with formalism, with mindlessness, a theatre that focuses on the pleasure of thinking, the strength of the imaginary and the violence of dramatic poetry. A theatre of urgency that is not created in confusion but in rigor and that summons onto the stage all the arts that can enrich it and without which it would only perhaps be an empty shell: painting, music, literature, philosophy… A theatre of the ceremonial that is built and destroyed in the same movement, a theatre that is composed and decomposed, is effaced and is reborn, that is turned inside out like a glove, a theatre of repeating motifs. The ricercar is a contrapuntal musical form that is less elaborate than the fugue – which appeared later and uses a generating theme in a systematic manner, whereas the ricercar links different episodes in which there are not necessarily any thematic connections. As François Tanguy explains, “the title Ricercar, even if it evokes these intertwining and repeated movements that come from diverse sources and sound dynamisms, will here be the indication of a ‘milieu', derived from the word itself. Ricercare: look for, examine, travel through… That, the returning inclusion of the figures, bodies, words, in the appearing of space and time – deliberations constantly taken up again, summoned and revoked from the quick and the dead, semblances and meanings, airs and herbs.” On the stage, the theatre directs itself. It is not solely a question of having the words of François Villon and Dante, Pirandello and Kafka, Ezra Pound and Mandelstam, Liszt, Berio, Berg, Verdi, Stravinsky or Beethoven heard; François Tanguy and his companions create, drawing from these literary and musical universes, a world of fiction and invention, peopled with disjointed bodies that move in a framed-unframed space, made of depth, skilful diagonals, shadows and light, planks and tulle, that constantly alter the approach to and the perception of images. The show is meticulously built in this constant fragmentation that allows time for suspension and respiration in which everything seems to be able to happen on the stage. Theatre that has absolute trust in each spectator and his immeasurable capacity to dream, to be astonished, to accept turmoil, to penetrate the shadows, to go through the mirror of semblances, to share those ineffable moments that François Tanguy and the Théâtre du Radeau offer us.

  • Distribution

    mise en scène, scénographie, lumières: François Tanguy
    élaboration sonore: François Tanguy, Marek Havlicek
    avec: Frode Bjørnstad, Laurence Chable, Fosco Corliano,
    Claudie Douet, Katia Grange, Jean Rochereau, Boris Sirdey
    technique et production: Théâtre du Radeau

    Production

    coproduction: Théâtre du Radeau (Le Mans), Théâtre national de Bretagne-Rennes, Centre chorégraphique national Rillieux-la-Pape – compagnie Maguy Marin, Théâtre Garonne-Toulouse, Festival d'Automne à Paris, Odéon-Théâtre de l'Europe, Festival d'Avignon
    Le Festival d'Avignon reçoit le soutien de l'Adami pour la production

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  • INTERVIEW WITH
    FRANCOIS TANGUY
    (in French)

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    PROGRAMME

    OF THE PERFORMANCE
    
(in French)

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