{"id":148,"date":"2018-07-16T12:57:27","date_gmt":"2018-07-16T12:57:27","guid":{"rendered":"http:\/\/www.dayfornight.odns.fr\/?page_id=148"},"modified":"2023-02-03T14:27:28","modified_gmt":"2023-02-03T14:27:28","slug":"morgane-poulette","status":"publish","type":"page","link":"https:\/\/www.dayfornight.fr\/en\/morgane-poulette\/","title":{"rendered":"Morgane Poulette"},"content":{"rendered":"
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________<\/span><\/p>

Morgane Poulette<\/span><\/p>

CREATION 2017<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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The Camp of the Unfortunate<\/em> follows the story of Morgane Poulette, a junkie singer, and Thomas Bernet, a successful soap actor, in a London that fluctuates between glamour and the underbelly. The Londoner<\/em>is Morgane Poulette's grief after Thomas Bernet's death and the reflection of this grief in London, in a world that is falling apart, where personal anger becomes political, where the writing evokes a greater maturity, lost youth and a desire for resurrection.<\/span><\/p>

Rather than a succession, the two texts are, as author Thibault Fayner points out, a reinterpretation of the same elements, two variations of the same story. The staging of the two texts is like the back and forth of the same myth. Certain elements, sounds, scenography, props are found from one text to the other, like the diurnal remains of a dream.<\/span><\/p>

Thibault Fayner's diptych seems to me to be a tale, a coming-of-age story, which recalls the mythological themes of Sleeping Beauty - death converted into sleep, the expectation of adolescence, the awakening to life through sexuality. Hence the desire for a very urban scenography, but one in which nature reclaims its rights, as in the Pre-Raphaelite representations of Sleeping Beauty, stiff and comfortably asleep, beset by brambles and roses. In The Londoner<\/em>, divided into five chapters, only the first and the last seem to narrate a fable and its evolution - from Morgane Poulette's mourning to her meeting with another man - the others seem to be mere bubbles, memories. In the light and the scenography, we move from reality to dream, from reality to fantasy.<\/span><\/p>

This is also where the specificity of Thibault Fayner's language lies: both texts are in the \"familiar form\" and are addressed to Morgane Poulette. I chose to work with a single actress, who is both the narrator and a character, to work on the image and the prosody, as well as on the tangible embodiment by the actress' body and the direct relationship between the narrator and the audience. Only the strange text of the \"healer\", a sort of symbolic death that ends The Camp of the Unfortunate<\/em>, will be performed by a man, in voice-over, which allows for a change of stage.<\/span>
The device allows the distinction between the two parts to be accentuated: in The Camp of the Unfortunate, the actress moves very little, in a very forward-facing acting style, very much addressed to the audience; the set design is revealed in the second part: the island where she was in the first part, both a prison and a refuge, turns out to be surrounded by a large expanse of water, a real and dreamlike space, and enables five tableaux to be created, which are the chapters of The Londoner<\/i>.<\/span>
I also decided not to portray the rock sung by the heroine, founder of the group Pain and Fury - Thibault Fayner chooses to keep it a mystery and it is difficult to know, from the information he gives us, whether it is English rock or French pop. As when he talks about London, the author creates an imaginary space, a mental territory, consisiting of real but disparate elements. Hence the desire to work on a particular prosody, on the relationship between English and French, on the musicality of these two intersecting languages, on the impression of \"d\u00e9j\u00e0-vu\" and collective unconsciousness that the names, the sounds of the text and the relationship between languages sometimes create. The actress evolves in dialogue with a musical device that deals with the melody of urban sounds and the musicality of memory.<\/span>
The show was created in several forms - a light decentralised form and a stage form, proposing a scenographic and lighting device that embodies each of Morgane Poulette's mental spaces.<\/span>
Anne Monfort<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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PRODUCTION<\/span>
<\/span>Production<\/span> day-for-night
<\/span>Coproduction<\/span> Festival de Caves 2017, Ferme de Bel Ebat-Guyancourt
<\/span>With the support of<\/span> Th\u00e9\u00e2tre-Cin\u00e9ma Paul Eluard of Choisy-le-Roi, Nouveau Th\u00e9\u00e2tre of Montreuil \u2013 CDN, P\u00f4le Culturel d\u2019Alfortville, Th\u00e9\u00e2tre Ouvert \u2013 Centre National des Dramaturgies Contemporaines et Th\u00e9\u00e2tre National of Strasbourg.<\/span>
Creation avril 2017 during the festival de Caves, new creation on stage in October 2017at Colombier - Bagnolet
<\/span>day-for-night is subsidised by the DRAC Bourgogne Franche-Comt\u00e9 and by the Bourgogne-Franche-Comt\u00e9 region. The company is supported in its projects by the Departmental Council of Doubs and the City of Besan\u00e7on.<\/span>
The company have a DGCA mentoring network with Thibault Fayner.<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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\u00a9 Luc Arasse<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\u00a9 Patrice Forsans<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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CAST
<\/span><\/span>Based on The Camp of the Unfortunate<\/em> followed by The Londoner<\/em> by Thibault Fayner<\/span>, \u00e9ditions espaces 34, 2015.<\/span>
Direction Anne Monfort<\/span><\/span>
With Pearl Manifold<\/span> and the voice of Jean-Baptiste Verquin<\/span><\/span>
Light design C\u00e9cile Robin and Hugo Dragone<\/span><\/span>
Sound design Emmanuel Richier<\/span><\/span>
Scenography and costumes Cl\u00e9mence Kaz\u00e9mi<\/span><\/span>
Director's intern Marion Begin -Universit\u00e9 de Besan\u00e7on<\/span><\/span>
Production Coralie Basset<\/span>
Booking Florence Francisco<\/span>
Les Productions de la Seine<\/span>
Press relations Olivier Saksik-Elektronlibre<\/span><\/span>
Thanks <\/span>Quentin Barbosa, Gens\u00e9ric Col\u00e9no-Demeulenaere, Marianne Deshayes and H\u00e9l\u00e8ne Morelli<\/span>
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PERFORMANCE DATES<\/span><\/span>
<\/span><\/span>Season 2018\/2019<\/span>
From 5th to 24 July 2019<\/span>
La Manufacture- festival off d\u2019Avignon\u00a0
On 10th January 2019<\/span>
Th\u00e9\u00e2tre de Morteau\u00a0
On 28th November 208\u00a0<\/span>
L\u2019Atheneum-Dijon
[Calendar of previous performances in More information<\/em>]<\/span>
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MORE INFORMATIONS
<\/span>x Download the artistic dossier in french<\/a>
<\/span>x Watch the teaser<\/a>
x Download the performances calendar<\/a><\/span>
<\/span>x Read the french press
<\/span><\/span>___<\/span><\/span>Bruit du off<\/a>
___<\/span><\/span>La Provence<\/a><\/em>
___<\/span><\/span>Naja 21<\/a><\/em>
___<\/span><\/span>I\/O Gazette<\/a><\/em>
___<\/span><\/span>Theatredublog<\/a><\/em>
___<\/span><\/span>L’Insens\u00e9<\/a>
___<\/span><\/span>Chantiers de culture<\/a>
___<\/span><\/span>Paris extra muros<\/a><\/em>
___<\/span><\/span>Un fauteuil pour l’orchestre<\/a>
___<\/span><\/span>Chantiers de culture<\/a>
___<\/span><\/span>800 signes<\/a>
___<\/span><\/span>Toute la culture<\/a>
___<\/span><\/span> Marsupilamima<\/a>
___<\/span><\/span>Th\u00e9\u00e2tre au vent<\/a>
___<\/span><\/span>La Terrasse<\/span><\/a><\/em><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

________ Morgane Poulette CR\u00c9ATION 2017 Le Camp des malheureux retrace l\u2019histoire de Morgane Poulette, une chanteuse junkie et de Thomas<\/p>","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.dayfornight.fr\/en\/wp-json\/wp\/v2\/pages\/148"}],"collection":[{"href":"https:\/\/www.dayfornight.fr\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.dayfornight.fr\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.dayfornight.fr\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.dayfornight.fr\/en\/wp-json\/wp\/v2\/comments?post=148"}],"version-history":[{"count":72,"href":"https:\/\/www.dayfornight.fr\/en\/wp-json\/wp\/v2\/pages\/148\/revisions"}],"predecessor-version":[{"id":2743,"href":"https:\/\/www.dayfornight.fr\/en\/wp-json\/wp\/v2\/pages\/148\/revisions\/2743"}],"wp:attachment":[{"href":"https:\/\/www.dayfornight.fr\/en\/wp-json\/wp\/v2\/media?parent=148"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}