Anne Monfort

Anne Monfort founded the Day-for-Night company in 2000. She has directed several plays by the German author Falk Richter, whom she has also translated: Dieu est un DJ (2002), Tout. En une nuit (2005), Sous la glace (2007), Nothing hurts (2008). She has also accompanied Richter on his projects in France, notably Je suis Fassbinder, co-directed by Falk Richter and Stanislas Nordey.

Associate artist at the Granit - Scène nationale de Belfort between 2007 and 2010, she created Laure, Next door, Si c'était à refaire, Les fantômes ne pleurent pas and the diptych Notre politique de l'amour, consisting of Tout le monde se fout de la demoiselle d'Escalot and Ranger (Sa vieille maîtresse) presented at the Théâtre GiraSole in Avignon OFF in 2011. She created Quelqu'un dehors, moi nulle part in March 2012 and Exit, a short play presented at the 360 festival in June 2013, both texts by Sonia Willi.

In 2013/2014, she used unpublished material and extracts from Falk Richter's writing diary to stage Et si je te disais, cela ne changerait rien. She was invited to the Festival de Caves for the 2014, 2015, 2016 and 2017 editions, where she created Black House - freely inspired by the figures of Rosa Luxemburg, the Pussy Riots, the RAF and texts by Alfred Döblin, Temps Universel +1 by Roland Schimmelpfennig, Perséphone 2014 - adapted from the novel by Gwenaëlle Aubry and Morgane Poulette - based on two texts by Thibault Fayner: La Londonienne and Le Camp des Malheureux.

The 2015/2016 season saw the creation of No(s) Révolution(s), commissioned from two authors, Mickael de Oliveira and Ulrike Syha, a show created in France, Germany and Portugal with an international team.

In 2017-2018, she revived the stage version of Morgane Poulette at Le Colombier (9 to 21 October) and created Désobéir-Le monde était dans cet ordre là quand nous l'avons trouvé, a stage play based on texts by Mathieu Riboulet (first performed in January in Bagnolet, at the Besançon CDN in March 2018).

Anne Monfort's work revolves around the question of point of view, devices that involve narratives alternating between documentary and fiction, and acting between play and non-play. The actor's body has to be a projection surface for the foregrounds, backgrounds and zooms in and out that the spectator's brain is constantly making. She has worked on plastic forms, small forms, and likes to confront several types of textual writing - poetic, fictional and documentary - and scenic writing, working on images and musicality according to a system of montage in the cinematographic sense of the term.