Théâtre du Centaure Tents
In the darkness of the caves, sound served as a compass for the people, a light that guided them through the darkness, a song that illuminated the walls. It was necessary to shout to locate oneself. It was necessary to sing to light the darkness. Here too, people shout, they search, they grope.
It moves ahead as best it can in the tunnel of the time. It is difficult to know if it is the foot of the wall or the top of the world, if life is dying or being reborn. But it falls and rises again with the same resolution, with the same innocence, with the same insistence. It wants to be free. No matter what. It is numerous. It is a herd. It is a crowd. Almost a family. And in the interstices of a ruined world, it invents something new. Another end of the world is possible - it has even begun. This is what these bodies say. They are those of a life that glows, those of the life that strikes.
The second part of the diptych that began with Là, Falaise is not really a continuation of the story. But, rather, its reverse. Its true place. We have gone to the other side of the wall, to the other side of the world. To the teeming life that overflowed from the walls. Here it is in front of us. Worried. Fragile. Obstinate. Stubborn. Plural. And it's not done yet.
– Barbara Métais-Chastanier
Authors, directors Camille Decourtye and Blaï Mateu Trias
On stage Noëmie Bouissou, Camille Decourtye, Claire Lamothe, Blaï Mateu Trias, Oriol Pla, Julian Sicard, Marti Soler, Guillermo Weickert, a horse, and pigeons
Directing support Maria Muñoz – Pep Ramis / Mal Pelo
Staging support Barbara Métais-Chastanier
Scenography Lluc Castells helped by Mercè Lucchetti
Musical collaboraiton and sound design Fred Bühl
Light design Adèle Grépinet
Costumes Céline Sathal
Recorded music Joel Bardolet
Lights Nicolas Zurow
Stage management Cédric Bréjoux and Mathieu Miorin
Sound Fred Bühl or Rodolphe Moreira
Animal care Francis Tabouret
Technical director Nina Pire
Deputy / Distribution Laurent Ballay
Administration Caroline Mazeaud
Communication Ariane Zaytzeff
Production assistant Pierre Compayré
Production Baro d’evel
Coproductions GREC 2019 festival in Barcelona // Teatre Lliure in Barcelona // Théâtre Garonne, European theater // Malraux national theater in Chambéry Savoie // ThéâtredelaCité – CDN Toulouse Occitanie // Pronomade(s) en Haute-Garonne // CNAR // L’Archipel national theater in Perpignan // MC93 – Maison de la Culture in Seine-Saint-Denis // CIRCa, Pôle National Cirque, Auch Gers Occitanie // Le Grand T, théâtre de Loire-Atlantique // Le Parvis, national theater in Tarbes-Pyrénées // Les Halles de Schaerbeek in Brussels // L’Estive national theater in Foix and l’Ariège // Jules Verne national circus center in Amiens, // SNA national theater in Albi as part of the FONDOC program // Bonlieu national theater in Annecy // La Comunidad de Madrid (Teatros del Canal) // Le domaine d’O (Montpellier 3M) // Houdremont theater in La Courneuve // 2 Pôles Cirque en Normandie / La Brèche à Cherbourg – Cirque-Théâtre d’Elbeuf.
Project beneficiary of the cross-border cooperation project PYRENART, within the framework of the program Interreg V-A Spain-France-Andorra POCTEFA 2014-2020 - European Regional Development Fund (ERDF)
Artistic residencies CIRCa in Auch, Gers, Occitanie // ThéâtredelaCité in Toulouse Occitanie // La Brèche in Cherbourg // Les Pronomade(s) in Haute-Garonne // CNAR // Le Théâtre de Lorient // the Avant-scène in Cognac // Animal a l’Esquena in Celrà.
Support the DGCA, Ministry of Culture and Communication, the Generalitat de Catalunya, Institut Català de les Empreses Culturals, the Departemental Council of the Haute-Garonne, and the City of Toulouse.
The company is supported by the Ministry of Culture and Communication - DRAC Occitanie Pyrénées - Méditerranée and the Région Occitanie Pyrénées - Méditerranée.
"I hope that the whole world will see this masterpiece because it touches upon a universal dimension!"
– Les Trois Coups
"Will the human being be able to avoid its fall? In a metaphorical waltz, extraordinary performers (including a horse) defy the disaster foretold."
To put ourselves in danger artistically, to look for a total art, is our driving motivation, we thrive at crossroads and embrace encounters while seeking the excellence within each discipline. As we pursue this arduous and constant mission, we mix movement, acrobatics, voice, music, and matter, but what makes us truly unique is our ability to incorporate animals in our artistic quest. Our performance spaces are conceived as showcases and the animals on stage bring a certain dazzling emotion. The spectator is moved by their presence, and a different perception of the performance ensues.
We like to take the risk of using a precise style of writing that is nonetheless open to improvisation, to envision dramaturgy as a set of drawers, a group of interior poems that combine to make a bigger one.
It is a paradox to have writing that is both precise and at the same time completely free, but it is a way for us to always be in search of the accuracy of the moment, to reveal what escapes us, what is told in spite of ourselves.
We like to think of the performance as a ceremony, a re-enchantment, an invitation to all these disciplines, to have on stage these animals, these children, these artists, to create shows that take the spectator into an inner labyrinth, into a waking dream.
Camille Decourtye & Blaï Mateu Trias