Pas pleurer


pas pleurer (don't cry)


In my shows, I often wonder about the extent to which the body is permeated by politics, regardless of whether or not by choice. I believe that this is why I wanted to adapt Lydie Salvayre's novel, which tells the story of her mother Montse, whose body was affected by the Spanish Revolution of 1936, by the Retirada, and her "Frespagnol" language by exile. And also, because this novel fell into my hands through my parents. So, there was, quite quickly, a generational story in all this.

Within the portrait of her mother, Lydie Salvayre suggests another portrait, her own, an author, a woman, a daughter, and an heiress. I think that this is what I wanted to tell and how, in turn, the heirs of family and political history convey the story. The ease and reluctance of these second-degree transmissions. This is what led me, I think, to see this show as a dialogue between a woman who is the custodian of her mother's memory and a young man, who is the third generation and who looks at history from today's political angle, that of a Spain still traversed by the question of "nationals". In the same way that Lydie Salvayre, writing her book, compares the personal material provided by her mother with a story told by books, with the testimony of Bernanos in Les Grands Cimetières sous la Lune (A Diary of My Times), our two characters, Lidia and Marc, try to understand, to link the personal and the political, their historical, psychological and scientific knowledge.

The musings on the novel have become musings on history, on memory and the emotions that these entail. How does memory move on to the next generation, in bodies and in actions? What are the hidden or visible traces in a city? How can we tell what we cannot tell, through words, images, and sensations? This inevitably bumpy road is challenged by gaps, invention and breaks in form between literature, cinema and theatre. And in the end, as in any quest, it is the quest itself that becomes central and becomes the subject of the stage or film. 

Anne Monfort

Production day-for-night
Coproduction Oui! Festival de théâtre en français of Barcelone – Spain
With the support of the Institut français in the frame of Théâtre Export, the CDN of Besançon Franche-Comté, du Colombier – Bagnolet
Thanks 31 Juin Films
day-for-night is subsidised by the DRAC Bourgogne Franche-Comté and by the Bourgogne-Franche-Comté region. The company is supported in its projects by the Departmental Council of Doubs and the City of Besançon.

© Rita Martinos

Adaptation of the novel by Lydie Salvayre

Concept and direction Anne Monfort
With Anne Sée and Marc Garcia Coté
Video Julien Guillery
Scenography and costumes Clémence Kazémi

Light design and technical mangement Cécile Robin
Sound design Julien Lafosse
The film was shot in October 2017 in Barcelona and was directed by Julien Guillery  with the collaboration ofEmmanuel Barraux and Anne Monfort 

Production Coralie Basset
Booking Florence Francisco
Les Productions de la Seine

Press relations Olivier Saksik – Elektronlibre

Season 2021/2022

From 10th to 15th May 2022
The Colombier-Bagnolet

Season 2020/2021
From 5th to 7th October 2020
Le Parvis-Scène Nationale de Tarbes

On 16th October 2020
L’Arc-Scène Nationale du Creusot 
[Calendar of previous performances in More information]