Valmont and Merteuil at the time of the égoportraits and #MoiAussi

Valmont et Merteuil au temps des égoportraits et de #MoiAussi

Photo: Valérian Mazataud The Duty
The director Solène Paré invests in a profession that has more women than before, but remains predominantly male.

New artist-in-residence at Espace GO, Solène Paré sees a “great opportunity” to enroll in the current conversation on the role of women. The director of the succession, which had mounted The bell-glass at Prospero in 2017, investing in a profession that has more women than before, but remains predominantly male. “In art, it is often said of the left. But there was no social safety net. It is a community right, I believe. To be a director, there are several stages to pass, and to each, there is always a way to choose a man instead of a woman. But I am positive. I am aware of being in a privileged position. And I have friends metteures in a scene that, I feel, will leave their mark. This is before we as a generation may have been sacrificed. “

It also says it is delighted to begin her residency in the small room to GO, while the one of those who have prepared the way in this position of power, which she sees as a mentor, staged his own show (Because the night) in la grande. And with a room that Brigitte Haentjens had already mounted, Quartett. “It is a beautiful echo. “

A work which addresses precisely the power. “How can we reinvent the power ? This is a question that interests me a lot. I do not believe that there should necessarily be a dictatrice to recognize its authority. In fact, the authority recognizes itself naturally. As a power, it is granted. I believe that there are several ways to exert its authority healthy. “

Solène Paré had led Quartett at the national theatre School in 2015 for his show ending, and had the urge to revisit in the light of the social context created by the movement #MoiAussi. “In order to go further in this conversation on the culture of rape. Trace the birth of these power dynamics. Where does the violence ? These questions dwell in me. “

The instrument that is our body, do we not paid for that we were playing until the silence make jump ropes?

— The marquise de Merteuil

Among the protagonists of Heiner Müller, inspired by the marquise de Merteuil and the vicomte de Valmont escaped dangerous Liaisons, Solène Paré sees the character of a ” contradiction dizzying “, at once alluring and repugnant. “I have the impression that Müller is beyond the moral issue. As a citizen, I denounce the culture of rape. But as an artist, in presenting these two sexual predators on the scene today, I want to ask why, in our society, is often associated with power and sexuality. Without necessarily being judgemental. “

One of these predators, the representatives of an ” elite completely depraved “, is a woman. A model that you see pretty rarely. “For me, the marquise de Merteuil is really the vanishing point of the piece, it is very enigmatic. When I watch the show in repeats, I have the feeling that you know when Valmont actually says what he thinks, while the marquise, to me, is still elusive. Why feed it as a culture that can only destroy ? “

Play by the pool

For camping these libertines, who disguise themselves also to embody their prey, playing badly to recreate their fall, the director has chosen Ève Pressault and Adrien Bletton. Two friends, who complement each other well. “It’s particular, work a duo. Especially in Quartet, it is necessary that the desire is possible between the actors. These are actors body, capable of having a charge sensual on stage. In Quartett, it is necessary to use the body, the impulses. It is a show that plays by the pool. “

She quickly realized that the best way to understand what “philosophical text which touches on several things at the same time,” that is to experience it in action. “My first true reading of Quartett, and it was in the rehearsal hall with the actors. It is a piece that reads with the sweat. “Solène Paré believes that Müller writes with the body of the actors. Often, in the playing, a sentence appear so enigmatic to the reading proves to be a reference to ” a very simple relation to the body. There are several sets of double meaning “.

Thus, they are the performers in the thirties, who embody these characters who could be much older. “Valmont is obsessed by the ageing, he has a fear of death. And he laments the fact that the body of Merteuil will start to wither. It was a very physical woman. It is unsettling, to work with young actors this [obsession] of a date of expiry. Thirty years ago, in my community, people are already beginning to be afraid of getting old, having marks on their body. It is in a society of hyperconsumption, which we related to the body. “

With the only indication that the story was over in a bunker after the Third world War, the dense piece could give rise to multiple visions. “We don’t know who the characters are speaking. “Solène Paré is part of this conundrum for camp work in our era of narcissistic tendencies. “It is a bit like social networks : it is not known at which you book. For me, these are two monsters of ego who film themselves and keep track of which are in need of the gaze of the other to exist because it is part of their identity. Every selfie, to me, is like a way of pushing back death. Why does one photo frantically like that ? “

On the aesthetic level, the show is inspired by the “looks enigmatic present in the paintings of the Renaissance” and religious imagery through the back door. This implementation ” gap ” requires a creator, by bringing his own answers, to print out his claw. “This is not a text, it is a machine that calls to commit ! As a young director, I was interested to know where I am, philosophically, and theatrically. It really works the imagination. And I hope that it is also going to [boost] that of the public. “

She Ready to admit her haste to continue the conversation after the performances. “For me, the true location of the theatre is in the creative potential of the viewer. It is almost a thriller, philosophical, Quartett. It really requires the involvement sensitive to the public. “


Text : Heiner Müller. Translation : Jean Jourdheuil and Béatrice Perregaux. Directed by : Solène Ready to go. With Adrien Bletton and Ève Pressault. A production of Phantom, a production company. To Space GB the 19 march to 6 April.