Nostalgie 2175


nostalgie 2175

In 2175, in a world where the temperature is close to 60°C and where humans are constantly adapting to a hostile environment, Nostalgie 2175 tells us a story of love and life between three protagonists, Pagona, Taschko and Posch. Pagona becomes pregnant, something that has not happened for decades. Pagona's poem to her daughter is interspersed with flashback scenes telling the story of this pregnancy and the two men around her, against a backdrop of paintings, desire and nostalgia.

A plunge into a dystopian and poetic universe that examines our relationship with the planet, with others and with the meaning of giving life in a world that seems destined to die.

In addition to working on various types of acting that enable us to tell this story, we are working on the actors' bodies, on painting, from Renaissance motifs to twentieth-century films that have become symbolic, on the musicality of this silent world, and on a nature that would regain its rights in a parched world.

The scenography represents a forest, a cross between artificial and real vegetation, paper and branches, a symbolic unconscious pierced by the remains of Taschko -a boat, an artificial lake. All the scenes are seen through the prism of Pagona's memory and take place as if through a sound filter, the sound recalling diurnal remains anchoring the situations, accompanied by musical layers translating the contradictory issues and feelings involved in this text.

The cast includes Judith Henry, Jean-Baptiste Verquin and Mohand Azzoug, representatives of this world to come, who work both on a precise musicality and on a direct, very cinematographic presence.

The text alternates between short dialogues and a scalpel-like narrative that Pagona addresses to her unborn daughter (...) Judith Henry performs it with a presence that is always accurate and subtle, accompanied by Mohand Azzoug (Taschko) and Jean-Baptiste Verquin (Posch). 
La Terrasse/Agnès Santi

The narrative is twofold: one part describes what is seen in addition, another, the thoughts of the character, the action and the mind, which take away from these roles the vitality of instinct and turn them all into narrators of their own existence, as if they saw the present as already past, recorded, digested, accepted.
La revue du spectacle/Bruno Fougnies

The vertigo of the text lies in the hybridization of the two regimes, which Anja Hilling decides to intertwine rather than divide: the memories seem frighteningly real, because the drama, still so alive in Pagona's mind, seeps into the narrative.
IO Gazette/Victor Inisan

The images, like the meaning, retain their share of mystery in the show, leaving room for the imagination.
Arts-chipel/Sarah Franck

The sound environment is by IRCAM with Nuria Giménez-Comas, between anguish and light, darkness and sunshine, desolation and the promise of love, between risks, threats and the power of poetry.
Véronique Hotte/Hottello

The strange atmosphere created by the elements of the set, such as the blue boat or the multicoloured hut, gives the whole the effect of a dream, between nostalgia and desire (...) The scene becomes, despite the catastrophe, the place where a quest for beauty unfolds.
Guillaume Lasserre/Mediapart

Production day-for-night 
Coproduction CDN of Besançon Franche-Comté, ThéâtredelaCité – CDN of Toulouse Occitanie, Théâtre National of Strasbourg, L’Espace des Arts – Scène Nationale Chalon-sur-Saône, Les Scènes du Jura – Scène Nationale, l’ARC – Scène Nationale Le Creusot, IRCAM – Centre Pompidou
With the artistic contribution ofe ENSATT and the support of Théâtre du Peuple-Bussang-Maurice Pottecher, Quint’est réseau spectacle vivant Bourgogne-Franche-Comté Grand Est. This text is a laureate of the Aide à la création de textes dramatiques - ARTCENA
The company have a DGCA mentoring network with Julia Dreyfus. 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.

© Christophe Raynaud de Lage

Text Anja Hilling, published by Éditions Théatrales, the author's publisher and agent 
Traduction Silvia Berutti-Ronelt and Jean-Claude Berutti
Direction Anne Monfort 
Artistic collaboration Laure Bachelier 
With Mohand Azzoug, Judith Henry and Jean-Baptiste Verquin
Scenography and costumes Clémence Kazémi assisted by Vérane Kauffmann 
Original music composition Nuria Gimenez Comasa command byIrcam-Centre Pompidouwith the collaboration of the instrumentalists Mayu Sato (flut) and Matthieu Steffanus (clarinet)
Creation, light and generale management Cécile Robin assistée d’Alexandre Schreiber 
Sound management Guillaume Blanc 
Hair and make up Cécile Kretschmar 
Assistant director Julia Dreyfus in the frame of the mentoring network
Administration, production and communication Coralie BassetNancy Abalo and Yohan Rantswiler
Production and booking Florence Francisco and Gabrielle Baille – Les Productions de la Seine
 Press relations Olivier Saksik – Elektronlibre

From 7th to 15th December 2022 (release day on 12th December)
Théâtre National de Strasbourg
On 15th and 16th March 2022
L’Espace des Arts, scène nationale Chalon-sur-Saône
On 3rd February 2022
L’ARC, scène nationale Le Creusot
On 1st February 2022
Les Scènes du Jura au Théâtre de Dole
From 25th to 28th January 2022
Théâtre de la Cité – CDN de Toulouse
From 18th to 20th January 2022
CDN de Besançon Franche-Comté, Besançon