{"id":34,"date":"2018-07-12T15:44:09","date_gmt":"2018-07-12T15:44:09","guid":{"rendered":"http:\/\/www.dayfornight.odns.fr\/?page_id=34"},"modified":"2026-04-13T09:45:27","modified_gmt":"2026-04-13T09:45:27","slug":"la-compagnie","status":"publish","type":"page","link":"https:\/\/www.dayfornight.fr\/en\/la-compagnie\/","title":{"rendered":"la compagnie"},"content":{"rendered":"
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________<\/span><\/h2>

the day-for-night company<\/span><\/h2>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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It exits books and enters the body - <\/em>Mathieu Riboulet<\/span><\/p>

The company day-for-night was created in 2000 in the region of \u00cele-de-France and moved to Franche-Comt\u00e9 in 2007. It is directed by Anne Monfort and seeks to develop forms that combine visual and textual, fictional and documentary, the precision of the actor's performance and an in-depth dramaturgy. Inspired by the Nouveau Roman or new novel and French New Wave, the company's shows provide clues that make it possible to create a fictional story without following it from beginning to end, particular states of presence, coexistences of fragmentary and sometimes contradictory textual elements. The theatre is seen as a place where thought can be organised and aesthetic impact can occur, a place where intimacy and politics can be articulated.<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Morgane Poulette –<\/em> creation 2017 \u00a9 Patrice Forsans<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The company's first shows (Dieu est un DJ<\/em> in 2002, Tout. En une nuit.<\/em> in 2005, Sous la glace<\/em> in 2007 and Nothing hurts<\/em> in 2008) were created from texts by the German author Falk Richter, for whom Anne Monfort is also the translator. In parallel to this long collaboration with Richter, she has created text montages, as well as performance-like forms. She has also worked on site-specific shows, such as Next Door<\/em> (2009), which took over empty flats before they were rented out, or specific installations such as Les fant\u00f4mes\u00a0 ne pleurent pas<\/em> (2012), in which the spectators do not attend the same show depending on which side they are on. During this process, a precise directing style was developed, working according to a system of cinematographic editing, where the actor is the bearer of the change in form - it is the change in the code of acting that makes the whole performance shift from documentary to fiction, from political to poetic. This work was undertaken through the director's collaboration with loyal actors, by honing the prosody, with breaks and changes in the register that shift the show into another genre. This was the case for Black house<\/em> (2014), Temps universel +1<\/em> by Roland Schimmelpfennig (2015), Morgane Poulette<\/em> (2017).<\/span><\/p>

\u00a0The company has also teamed up with the author Sonia Willi, to set up an in-depth collaboration between script and stage writing, and with her created Quelqu\u2019un dehors moi nulle part<\/em>in March 2012 at the Halle aux Grains-Sc\u00e8ne nationale de Blois, as well as the short play EXIT<\/em> in 2013 for Festival 360 in Montreuil. In 2014, she rejoined Falk Richter for Et si je te le disais, cela ne changerait rien<\/em>, a work based on unpublished material from his journals. She then commissioned Mickael de Oliveira, a Portuguese author, and Ulrike Syha, a German author, to write No(s) r\u00e9volution(s)<\/em>, a work for which a historian joined them. The day-for-night company has been working with the author Thibault Fayner, for whom it created Morgane Poulette<\/em>, and who is working on a new play.<\/span><\/p>

Working on literary material, particularly novels, is a long-term project for the company. Since its move to Franche-Comt\u00e9, day-for-night has collaborated with Agence Livre et Lecture for stage readings and has therefore met many authors.\u00a0<\/span><\/p>

In Pers\u00e9phone 2014<\/em> after Gwena\u00eblle Aubry (2016),\u00a0 D\u00e9sob\u00e9ir- Le monde \u00e9tait dans cet ordre \u00e0 quand nous l\u2019avons trouv\u00e9<\/em>, after Mathieu Riboulet (2018), and Pas pleurer<\/em> after Lydie Salvayre (2019), novels have enriched the show's text but also its scenic dimension, combining literary and textual materials and other elements in harmony.<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Nostalgie 2175<\/em> \u2013 creation 2022 \u00a9 Christophe Raynaud de Lage<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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The most recent productions also explore the dialogue between languages and their relationship to history.<\/span> No(s) r\u00e9volution(s)<\/em>, created with two French actors, a German actress and a Portuguese actress, was performed and broadcast in the three corresponding countries in 2016, with a focus on languages that changed from one country to another. <\/span>Morgane Poulette<\/em> combines French and English in their musicality as well as in the subject matter, which uses the city of London as a fictional territory. <\/span>Pas pleurer<\/em> is a mixture of Catalan, Castilian and French.<\/span> D\u00e9sob\u00e9ir-Le monde \u00e9tait dans cet ordre-l\u00e0 quand nous l\u2019avons trouv\u00e9<\/em> also deals with the failure of a specific European construction, between the 1970s and today, seeking 'a little politics between'. <\/span>La m\u00e9duse d\u00e9mocratique<\/em> (2018) features the figure of Robespierre coming to discuss the current political situation with the audience. Anja Hilling's <\/span>Nostalgie 2175\u00a0<\/em> (2022) does the opposite, looking at history through the future.<\/span><\/p>

In the 2024 production of day-for-night, How far<\/em> by Laure Bachelier-Mazon, directed by Anne Monfort, French, English, Pidgin and Hausa coexist to explore the Biafran War and French-African relations. The show, which was created in Cameroon, Guinea and France, will be adapted into an English version for a new phase in Nigeria in November 2024. The project, co-produced by the Centre national dramatique de Besan\u00e7on Franche-Comt\u00e9 and GRRRANIT, Sc\u00e8ne nationale de Belfort, has received support from the Institut fran\u00e7ais de Paris and the Commission Internationale du Th\u00e9\u00e2tre Francophone (CITF).<\/span><\/p>

Au printemps 2025, la compagnie a cr\u00e9\u00e9\u00a0 <\/span>Les Jeux de l\u2019amour et de l\u2019\u00e9nigme<\/span><\/i>(The Games of Love and Enigma), a show for 2 actors and 1 computer aimed at schools, which brings together Turing's Machine and Marivaux's <\/span>La Dispute<\/span><\/i> de Marivaux afin de s\u2019interroger ensemble : peut-on diff\u00e9rencier encore l\u2019homme de la machine ? En mai 2026, elle cr\u00e9era une adaptation du roman de Maryse Cond\u00e9, <\/span>La Migration des coeurs, <\/span><\/i>en dialogue avec les <\/span>Wuthering Heights<\/span><\/i> d\u2019Emily Bront\u00eb. En janvier 2027, elle cr\u00e9era\u00a0 <\/span>Entre s\u2019en foutre et en crever<\/span><\/i> de Claire Barrab\u00e8s, texte dans lequel l\u2019autrice explore la transmission des traumatismes et l\u2019\u00e9pig\u00e9n\u00e9tique.\u00a0<\/span><\/span><\/p>

This detailed work on the texts is combined with research into linking words and music, to create a sensitive relationship with the spectator. This explains Anne Monfort's regular collaborations with composers such as Lo\u00efc Gu\u00e9nin and N\u00faria Gimenez Comas. The company also develops the precision of the actors' work through research projects such as Operation Caravaggio project<\/em> and Fantasticalit\u00e9 - In vivo theatre<\/em>, which are free of production constraints and to which the company dedicates specific time.\u00a0<\/span><\/p>

The company also has partnerships with higher education institutions (ESAD, CNSAD, TNS), the training of young actors being an angle that particularly interests director Anne Monfort. In 2019, Anne Monfort and Thibault Fayner created the graduation show for the students of EDT 91, Les m\u00e9daillons<\/em>. In 2021, Anne Monfort directed the CNSAD students' graduation show, based on Nulle part<\/em>, an unpublished text by Kouam Tawa. More generally, support for young companies is important to the company, which therefore accompanies up-and-coming teams in the form of mentoring or sponsorship.\u00a0<\/span><\/p><\/div>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Nulle part<\/em> by Kouam Tawa, directed by Anne Monfort with the CNSAD class of 2021 \u00a9 Christophe Raynaud de Lage<\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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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><\/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":"

________ la compagnie day-for-night \u00c7a quitte les livres et \u00e7a vient dans le corps – Mathieu Riboulet La compagnie day-for-night<\/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\/34"}],"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=34"}],"version-history":[{"count":230,"href":"https:\/\/www.dayfornight.fr\/en\/wp-json\/wp\/v2\/pages\/34\/revisions"}],"predecessor-version":[{"id":4100,"href":"https:\/\/www.dayfornight.fr\/en\/wp-json\/wp\/v2\/pages\/34\/revisions\/4100"}],"wp:attachment":[{"href":"https:\/\/www.dayfornight.fr\/en\/wp-json\/wp\/v2\/media?parent=34"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}