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“It would be important to specify this analysis of logic - the one of symbolic violence - that makes that the dominated arts of living are almost always perceived (by the one who live them) from the destructive and simplistic point of view of dominant aestheticism.”
Pierre Bourdieu
Duration 5h with intermissions, followed by a meal with the audience
With Karim Abdelaziz, Arthur Dumas, Agathe Fredonnet, Caroline Lerda et Charlotte Le Bras
Stage director Charlotte Le Bras
Assistant Caroline Lerda
Lighting desing Nathan Teulade
When we perform the plays of the cycle together, in their historical order A woman + F…. Country ! + CHILDHOOD(S) [ so, this has to be a manifesto], they become a triptych. The plays enlighten one another and offer the audience a unique artistic experiment.
The Voice of the Absentees is the name that we gave to our first work cycle (2017-2023) after we finished it. It is made of F…. Country !, A woman and CHILDHOOD(S) [ so, this has to be a manifesto]. The movement of the cycle is a research on powerful non theatrical writings (linked to sociology and social studies) that guided us towards our first collective stage writing. Our approach has to do with the rehabilitation of bodies and viewpoints that are often forgotten or unseen in the public area. To make those “absentees” exist on a stage, we had to invent singular theatrical tools. We had to invade the stage. It is also a public area.
I offer to make Younes’ words visible on a stage - because I have never seen them in a theater.
I offer to say those words on a stage so that we can give them the value of the most beautiful poem - because they enable to make some things sensitive that have never been told like that.
I offer to feel the friendship that exists between Younes and Stéphane - because it gives strength and spirit.
I offer to listen to Younes’voice (and through his voice, to the voice of a whole sacrificed generation) - because I believe it’s an emergency.
Charlotte Le Bras
2016
“Writing a part of my life relieved me, and yet, I still have this sadness that lives in my heart. What is the point in writing, then ? One word comes to my mind : understanding.”
Younes Amrani
(Pocket edition afterword, 2005)
To stage the political and poetical issues of the book (depicting a social condition and not just the story of one person) and to understand what was beneath Younes Amrani’s writing, we had to build specific theatrical tools. We have discovered the right theatrical “place” thanks to the Chorus and by “killing” the actor.
Duration 1h15
With Karim Abdelaziz, Arthur Dumas and Agathe Fredonnet (Chorus of Younes), Caroline Lerda (Stéphane Beaud) and Charlotte Le Bras (Corypheus)
Stage director Charlotte Le Bras
Assistant Caroline Lerda
Lighting design Nathan Teulade
Choreography Sylvie Troivaux-Kafando
Wood frame building Etienne Meunier
Additional music Even in the quietest moments Supertramp
Administration Lucie Houlbrèque
Diffusion Manon Depoisson et Fanny Spiess
Communication Alice Bodineau
Papavéracées Productions with the support of la région Hauts-de-France, conseil départemental de la Somme, Amiens Métropole, Adami and Spedidam.
Created in 2017