Stage direction:
Fanny De Chaillé

Assistant director
Grégoire Monsaingeon

With the actors of the promotion M, Eve Aouizerate, Martin Bruneau, Luna Desmeules, Mehdi Djouad, Hugo Hamel, Maëlle Héritier, Araksan Laisney, Liona Lutz, Mathilde Lyon, Elisa Oliveira, Adrien Pierre, Dylan Poletti, Pierre Ripoll, Léo Zagagnoni, Kenza Zourdani

Assistant Stage Director Grégoire Monsaingeon / Choreographic assistance Christophe Ives / Light design Willy Cessa / Sound design Manuel Coursin / Costumes en cours / Stage management Emmanuel Bassibé, Robin Dupuis / Apprenti techniscéniste Amon Mantel
And the administrative and technical teams of La Manufacture - Haute école des arts de la scène, Lausanne and of TnBA Centre Dramatique National Bordeaux Aquitaine – direction Fanny de Chaillé

Duration : 80 min +/-

Production : La Manufacture - Haute école des arts de la scène, Lausanne ; TnBA Centre Dramatique National Bordeaux Aquitaine

With the support of Domaine Musique et Arts de la scène HES-SO, Fondation Ernst Göhner, Théâtre Vidy-Lausanne

Fanny de Chaillé

engages in a theater of the body in which she likes to separate text and movement to better re-arrange their encounter. It is in this interplay between body and voice that gaps and distortions are created, and language gains in physicality and plasticity. Her pieces, projects and installations do not fit into a fixed disciplinary field, but rather superimpose them, on stage or off (galleries, concert halls, libraries, university lecture halls). Her latest creations reflect this interest in devices and modes of addressing and listening, whether it's giving voice and body to Michel Foucault's inaugural speech at the Collège de France (Désordre du discours, 2019), building a collective around ten young actors from ADAMI (Le Chœur, 2020), crossing generations (Les Grands, 2019), or revisiting Lou Reed's album Transformer in an all-terrain format (Transformé, 2021).

Trained in Aesthetics at Paris Sorbonne in the early 1990s, Fanny de Chaillé has been creating her own installations and performances since 1995, and stage shows since 2003, using literary texts - Georges Pérec in Le voyage d'hiver, Thomas Bernhard in Je suis un metteur en scène japonais, Hugo von Hofmannsthal in Le groupe -, drawing on rock and popular music culture - Karaokurt (1996), Gonzo conférence (2007), Mmeellooddyy Nneellssoonn (2012), Transformé (2021) - and imagining hybrid, off-stage forms - La bibliothèque, Projet kids.

Associate artist of the scène nationale Chambéry Savoie (2014-2022), CND Lyon (2017-2020), Théâtre Public de Montreuil - CDN and Chaillot, Théâtre national de la danse since 2022, at the Théâtre de Nîmes since 2023, or invited by the Maison des Métallos (CoOP - 2020) or by the Centre Pompidou in 2013 to take over Espace 315 with La clairière, Fanny de Chaillé questions the theatrical device and invents new ways of circulating knowledge and practices with amateurs and audiences.

In 2024, she will become director of the Théâtre national de Bordeaux and the Bordeaux-Aquitaine theater school (Estba).

Avignon, a school

Fanny de Chaillé places the archives of the Festival d'Avignon in the hands of student actors, and asks them about the aesthetic changes that have taken place since its creation in 1947. On stage, they take hold of these archives and replay certain mythical scenes with the energy of their youth. It's a "theater of relationships" that brings forms, gestures and writing into resonance with contemporary political and social issues, as a way of grasping the past of their art in order to invent their present.