Download SophocleS - Adel HAkim - Théâtre des Quartiers d`Ivry

2016 / 2017 SEASON TOUR
CRITICS AWARD for
best foreign production 2012
Antigone
Sophocles - Adel Hakim
directed by Adel Hakim set and and lighting design Yves Collet
music Trio Joubran text in Arabic Abdel Rahman Badawi
text in French Adel Hakim costumes Shaden Salim set construction
Abd El Salam Abdo in collaboration with ateliers Jipanco
video Matthieu Mullot et Pietro Belloni
with the actors of the Palestinian National Theatre
Hussam Abu Eisheh - Alaa Abu Garbieh - Kamel Al Basha
Mahmoud Awad - Shaden Salim - Daoud Toutah
Performance in Arabic with subtitles
BOOKINGS
Estelle Delorme
00 33 (0)1 43 90 49 39 - 00 33 (0)6 77 13 30 88
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www.theatre-quartiers-ivry.com
ANTIGONE What is this so terrible crime I have
committed?
I simply wanted to give my brother a proper
burial?
Which, or so I believe, is all to my credit.
And all those who hear me would like to
applaud if only their terror
did not force them into silence.
This is none other than the sign of tyranny:
one that says and does as it pleases.
© Nabil Boutros
The spiral of Hades
Space is nothing but the scent of it.
If I remember a land,
I breathe in the blood of this scent
And I miss my displaced soul.
Mahmoud Darwich State of Siege
Land and the Wall
Why a Palestinian Antigone?
Because the piece speaks
of the relationship between human beings and the land,
of the love that each individual has for his native land,
of the bond with the land.
Because Creon, blinded by his fears and his obstinate ways,
forbids the burying of a dead person in the very ground which
gave witness to his birth. And because he condemns Antigone to
be entombed alive.
And because, following the prophecies of Teiresias and the death
of his own son, Creon realizes the error of his ways and vows to
make up for the injustice that has been committed.
In the piece by Sophocles, we find the putting in place of a
process, which is inexorable, constituent in its simplicity, of the
very principle of tragedy. Racine once said that it was only with
Bérénice, queen of Palestine, that he was able to attain this level
of certitude that makes up the great works of art of Greek Tragedy.
At the heart of the piece is the love that Haemon, son of Creon,
has for Antigone. Haemon loves Antigone, but Antigone loves
Polynices. Now Polynices is dead. From that moment on, the warmachine swings into action, and conflict is declared between the
dead and the living.
Polynice’s unburied corpse, given over to the dogs and birds
of prey, in turn becomes anthropophagous. Beneath the rational
appearances, the political and religious dispute between Antigone
and Creon inexorably opens the way to the gates of Hell, which
will swallow up the living. And the nightmare begins. Hades
becomes the main, yet invisible character with, at his sides, the
ghost of Œdipus and the entire genealogy of the Labdacids. Creon
summons up Hades by pronouncing this sentence: “The bravest
attempt to take flight when they see Hades before them”. For this
is what it is all about: a face-off to be feared - for Ismene - or to
be desired - for Antigone.
In the midst of a sea of infinite sorrow - that of oblivion,
the limitless sky or the underground world, each measures the
immensity of his or her solitude in the face of the Inevitable, and
the intensity of his or her love of life and the living.
Despite the crazed flight of souls towards madness and oblivion,
the piece by Sophocles is an ode to love and hope, a symphony of
feelings, and a delicate, dazzling meteor set against the dark sky.
By stirring up our thirst for struggle and life, it might just force
the shadow of death into retreat.
Synopsis
Œdipus was the former ruler of Thebes. At his death, his sons,
Eteocles and Polynices, decide to share power between them: each
will rule for one year. Eteocles becomes king, but after a year, he
refuses to give up his place to Polynices. So Polynices gathers an
army with the help of the Argossians and attacks Thebes. The two
brothers end up by killing each other.
After this fratricidal war, Creon, their uncle, becomes king.
He decides to give full burial rights to Eteocles and to throw
Polynices’ corpse to the dogs.
Antigone is opposed to this decision. She wants to bury her
brother Polynices, in contravention to the law laid down by Creon.
So Creon condemns Antigone to death.
Haemon, son of Creon and fiancé to Antigone, then tries to
save the young woman he loves. The tragedy builds, and war is
declared between the dead and the living.
Of course, nothing in the world
can save him any longer
and so his conduct can make one think
of the corpse of a drowned man
which, borne to the surface by some current,
bumps against a tired swimmer,
lays its hands upon him
and would like to hold on.
The corpse does not come alive,
indeed is not even saved,
but it can pull the man down.
Franz Kafka - Diary
Journey in Palestine
An intimate
understanding of the tragedy
What struck me, right from the first rehearsals, was the intimate,
in depth, understanding that the Palestinian artistic team primarily the actors - had of the spirit of Sophocles and Greek
Tragedy. Hussam Abu Eisheh, who plays the role of Creon, said
one day with a great deal of humour : “We understand Sophocles
because the Palestinian tragedy is a much more ancient one than
Greek tragedy”.
What makes Antigone a Palestinian figure is the challenge she
lays down to the authority of repression, linked to her decision
to die in the name of her convictions. She is representative of
the youth that you come across daily on the streets of Jerusalem,
Nablus, Ramallah and so on...
In the show, the voice of Mahmoud Darwich can be heard, a
voice which has been associated with, for the last years of his
life, the music of Trio Joubran. Their music, the voice of the poet,
and the Palestinian artists who have created the show, all this has
been in the service of the piece by Sophocles. With 2500 years of
existence behind it, this figure seems so far away and yet so close
because of its human truth.
Mahmoud Darwich
Like Sophocles, the Palestinian poet Mahmoud Darwich, who
died in 2008, had the ability to celebrate the struggle of human
beings for their survival and dignity in a world driven mad. He
always acknowledged how close he was to the stories of Greek
Tragedy:
“I chose to be a Trojan poet. I am definitely on the losing side.
The losers who have been deprived of the right to leave even the
slightest trace of their defeat, and of their right to proclaim it. I am
inclined to say this defeat; but there is no question of surrender.”
Adel Hakim
“ Sadness is a wall
which has been put up between two gardens”
Joubran Khalil Joubran
Jean-Pierre Han
May 2011 on the occasion of the play’s opening night in Jerusalem
© Nabil Boutros
ANTIGONE I am made for loving, not for hating
The “Welcome to Palestine!” that one of the representatives of the
Palestinian National Theatre who has come to meet us at Jerusalem
airport aims in our direction instantly brushes off the sad impression
of our arrival amongst deserted buildings, and shut-down shops, with
all the lights turned off; it is a Friday, the day of the Sabbath. It was
also in marked contrast to the tiresome departure control at Roissy
Charles-de-Gaulle by an Israeli member of staff, his poor command of
French making matters all the more delicate. This time it was theatre
that took matters into its hands; we found ourselves on familiar
ground once again. At the end of our journey there will definitely be this being our aim - Antigone by Sophocles at the Palestinian National
Theatre, the PNT, not to be confused with our own national TNP
(Théâtre National Populaire)! This Antigone will be directed by Adel
Hakim; the show is to be performed entirely in Arabic by Palestinian
actors. This flying visit will immerse us, without a transition of any
kind, into a universe with an atmosphere all of its own; within this
small group come over from Paris, made up of theatre practitioners,
directors, programmers, and journalists, I suppose that we all have
an image of the city and what goes on there, imprinted in the corners
of our minds by the echoes of the events which reach us, regardless
of whether we want them to, day after day. But the theatre, and
Antigone, are very much in existence here too. During a guided visit
of the city, the young lady from the Centre for Jerusalem Studies who
acts as our guide points out a cemetery to us, the same one where
Yasser Arafat asked to be buried. Faced with the Israeli government’s
refusal, he was to be buried in Ramallah... Just like the great poet,
Mahmoud Darwich, a few years later... With the graves, native lands,
and Mahmoud Darwich, we are, without a shadow of a doubt, still
and will always be, in Antigone as Sophocles would have imagined it,
a few centuries previously. The show, directed by Adel Hakim would
also pay homage and justice to it, but it somehow seemed so natural
that nothing seemed out of place. Indeed in terms of the directing,
there was no need to force the issue; it would simply be a matter
- though finding this sort of humbleness and certitude undoubtedly
being the hardest thing in the world - of allowing things, and the
words of the poet, to follow their course. And the words took effect,
in a clear and bright way, via the voices and bodies of the performers.
They make the words of the text their own in an almost natural
way, without frills, without “acting” them, I would even be tempted
to say. The full force of these words (at times underscored by the
musical sounds of the group which was so dear to Mahmoud Darwich,
the Trio Joubran. We also hear the voice of the former as he recites a
poem entitled On this land) are felt by the audience at the National
Theatre. The audience’s involvement in the piece was total and
instinctively burst into applause, not because of the acting, but in
response to the discourse of the characters, Antigone, and Haemon...
This matter, that affects Antigone so, also concerns them, body and
soul; it is in unison with that of the performers brought into the
spotlight by Adel Hakim.
© Nabil Boutros
Palestinian National Theatre
Adel HAKIM
Author, director, and actor, born in Cairo, he lived in Egypt and then in
Lebanon before moving to France in 1972. He did theatre at university,
and trained with Ariane Mnouchkine and John Strasberg. In 1984, he
set up the Théâtre de la Balance with Elisabeth Chailloux. In 1992, they
were nominated as artistic directors of the Théâtre des Quartiers d’Ivry,
which subsequently became the Centre Dramatique National du Val de
Marne in 2003.
Since 1987, he has staged Racine, Aeschylus, Botho Strauss, Joseph
Delteil, Tarjei Vesaas, Seneca, Samuel Beckett, Roland Fichet, Carlo
Goldoni, Jean-Claude Grumberg, Luigi Pirandello, Sophocles... During the
last few seasons, he staged Measure for Measure by William Shakespeare,
A Nest-Egg Well Scrambled by Labiche, and The White Rose based on the
work by B.Traven.
As an author, he has staged his own texts, some of which have been
translated and performed in several countries: Exécuteur 14, Corps, and
Après Pasolini: politique-visions...
As part of his numerous collaborations abroad, he wrote and staged The
Golden Fleece at the Theatre Drama in Bichkek, and then at the Théâtre
des Quartiers d’Ivry in 2001. In 2010, he staged Moliere’s The Imaginary
Invalid in Arabic at the Yemeni Cultural Center in Sana’a, in conjunction
with the Centre Culturel Français de Sana’a.
He has forged strong links with Latin America, particularly with Chile,
where he staged works by Seneca, Euripides, Roland Fichet, Catherine Anne,
Jean-Claude Carrière, Pier Paolo Pasolini, Botho Strauss, Hanokh Levin,
Normand Chaurette, Carlo Goldoni, and Christian Ruiz amongst others...,
as part of end-of-year performances by students at the University of
Chile and the Catholic University in Santiago, and also with professional
actors, leading to performances at the Teatro Nacional Chileno and the
Teatro Camino. In Uruguay, he staged Sophocles and Martin Crimp at the
Comedia Nacional in Montevideo. These collaborations in Latin America
enabled him to discover contemporary authors such as Benjamin Galemiri
(Chile) and Gabriel Calderon (Uruguay), and to bring their writing to Ivry
as part of the Théâtre des Quartiers du Monde.
He has taught dramatic art at the Ecole du Théâtre National de
Strasbourg, ENSATT, CDN de Bordeaux, Ecole de la Comédie de St-Etienne,
Théâtre National de Bretagne, Théâtre en Actes, Institut Supérieur d’Art
Dramatique de Tunis, University of Chile and Catholic University in
Santiago, Alliance Française in Buenos Aires, and the Casa del Teatro and
UNAM in Mexico.
Detailed information can be found at
www.theatre-quartiers-ivry.com and wikipedia.
The words “Palestinian National Theatre” take it for granted that this
is a theatre which receives financial support from its own government,
but the reality is that the Palestinian National Authority, as well as the
theatre, live under occupation. In line with the bilateral agreements,
it is forbidden for the Authority to subsidize institutions in Jerusalem.
Moreover, the Palestinian National Theatre, being legally registered in
Jerusalem, could ask for subsidies from the Israeli government. But,
as a Palestinian organization, the directors of the theatre discount
this possibility in order to maintain its freedom in putting on shows.
The result is that Palestinian National Theatre is solely dependent on
international aid and overseas partnerships in the pursuit of its activities
as the only Palestinian theatre in the city of Jerusalem.
In order to overcome the continued closing in of Jerusalem, this occupied
city, and in order to maintain solid links with the Palestinian community,
the Palestinian National Theatre organizes tours and programmes with
theatres in the West Bank. These “beyond the walls” programmes are a
way of bringing theatre to audiences unable to make the journey to the
theatre themselves and of bringing together the Palestinian community
that are involved in different art forms.
For several years now, and despite the testing times that have been
endured, the Palestinian National Theatre has been able to collaborate
with numerous partners from France (Théâtre des Bouffes du Nord, Théâtre
des Quartiers d’Ivry, Compagnie La Barraca, Festival de Marionnettes de
Charleville...), Norway, Great Britain, United States of America, Denmark,
and Holland amongst others...
Yves COLLET
For a number of years, he has been Associate Artist at the Théâtre des
Quartiers d’Ivry, with Adel Hakim (Antigone by Sophocles - Palestinian
National Theatre, The White Rose, based on the work by B.Traven...) and
Elisabeth Chailloux (The Playboy of the Western World by John M.Synge,
L’illusion Comique by Pierre Corneille...). As Associate Artist for the
Ensemble Artistique at the Théâtre de la Ville, he was behind both the
set and lighting design for the various shows by Emmanuel Demarcy-Mota
(Rhinoceros and Ionesco suite by Eugene Ionesco,Victor, or Power to the
Children by Roger Vitrac, and Bouli Année Zéro by Fabrice Melquiot...). In
the course of their adventure in theatre, he was awarded the Grand Prix
de la Critique for the set and lighting design of Six Characters in Search
of an Author by Luigi Pirandello. He was behind other collaborations with
Brigitte Jacques-Wajemann (Nicomède - Suréna by Pierre Corneille, Cruel
and Tender by Martin Crimp), Claude Buchvald, Valère Novarina, JeanPierre Garnier, Philippe Lanton, Jacques Vincey, Magali Léris, Philippe
Adrien, Philippe Dormoy, Denis Lavant and Serge Teyssot-Gay, François
Regnault, Martine Paschoud, Victor Gauthier-Martin, Catherine Dasté,
Christian Germain, Mario Gonzales, François Kergoulay, Claude Merlin,
Bernard Cronbey, Maurice Benichou and so on…
Le Trio Joubran
Hailing from Nazareth, the three brothers Samir, Wissam and Adnan
Joubran are the inheritors of a family of luthiers from Palestine whose
history can be traced over four generations. The origin of the trio
dates back to over ten years ago, to the debut albums of the eldest
brother, Samir Joubran: Taqaseem (1996) and Sou’fahm (2001). On the
third album, Tamaas (2003) he was joined by his brother Wissam. With
the arrival of their younger brother Adnan, Randana marked the true
beginnings of the Trio Jourban. It was followed by Majâz in 2007, a
work which established them as accomplished, “music-loving musicians”
capable of captivating an audience right from the first notes... In 2009
came In the Shadow of Words with Mahmoud Darwich, a project featuring
the writing and recital by the poet with whom they worked for many
years. They accompanied him right up to the end, his aura travelling the
globe, from Europe to Latin America via the Arab World. It was he who
drew up this wondrous design for them when he told them: “Don’t be
Palestinian musicians. Be musicians of Palestine...”
It is a show whose beauty in visual terms, its rigour, never smothers
the emotion arising from the words of Sophocles, the music of the Trio
Jourban, and the dazzling talent of the performers. At times applause
break out because a line seems to correspond precisely to the painful
reality of the Palestinian people. But here it is the artistry and sense of
sharing that unites the audience. And the not the political discourse.
Armelle Héliot - Le Figaro
The impact comes as a shock to the system. It is as if the fact
of having Antigone, the tragedy by Sophocles, played out by actors
who bring with them the searing intensity of their own story, that of
the Palestinian people, suddenly gives it a renewed sense. And it is
overwhelming. One of the strengths of this modern-dress show - played
out before the high-tech façade of a very up-to-the-minute looking
palace - is its departure from conventional acting styles. Set against
the heady echoes of the music of the three Nazareth musicians, the Trio
Joubran, the determination and contained violence in the magnificent
acting of Shaden Salim are reminiscent of all the excesses of an archaic
faith that verges on terrorism. And with it, the daughter of Œdipus
suddenly becomes as worrying as she is seductive. Adel Hakim has done a
marvellous job of exploiting to the full these artists whose mere presence
is suggestive of the chaos and horrors of the world.
Fabienne Pascaud - Télérama
Antigone, in the promised land. Two millennia later, Sophocles’ most
tragic heroine, has found a new resonance in Adel Hakim’s production.
The choice is an extremely just one and which does credit to the figure
of resistance
Eva Fichefeux - Libération
Antigone, a Palestinian drama. We encounter a land in crisis, a
conflict of generations and the questioning of the legitimacy of power.
Yet another version of Antigone, and yet another work dedicated to the
Palestinian cause. Except that on this occasion, the two meet each other,
in tune with the same tragic note. Thameur Mekki - Le Monde
An exultant Antigone, whose modernity takes the form of the ancient
tragedy in a potent way. Served up by powerful and willing actors, who
are as moving as they are colourful and amusing in their roles, this
production is a very beautiful and strong demonstration of the eternal
Catherine Robert - La Terrasse
power of tragedy.
Great beauty, great dignity and great emotion emanates from this
show which speaks of a very ancient world as if it were the present day.
The result is deeply troubling. As an artistic and political gesture, this
show demands admiration.
Armelle Héliot - Le Quotidien du Médecin
Breath-taking. An audacious troupe from East Jerusalem has taken on
the tragedy by Sophocles. The troupe brings out all the strength of this
universal work. Fragile but strong, beautiful and majestic, Shaden Salim
is truly radiant. From Antigone to Mahmoud Darwich, the strength of the
symbols goes down through the centuries.
Jack Dion - Marianne
A theatrical event. The language of Sophocles and that of Arabic echo
eachother and give body to the mythical tragedy found in each and every
one of us by breathing into it a very singular political scope. If Creon and
Antigone are the driving force in the piece, the other actors deserve a
mention. They are all pitch-perfect and astonishingly true, and underline
the high quality of training at the Palestinian National Theatre.
A superb tragedy with contemporary echoes. Shaden Salim’s acting
provides us with a magnificent Antigone. Done in Arabic with French
subtitles, the language carries with it heady scent of the Mediterranean
and gives voice to an extraordinary vitality, whilst yielding itself up
to all the truly tragic notes. The excellent music of the Trio Joubran,
virtuoso exponents of the oud, accentuates the echoes of this ancient
text dating back to over 2500 years ago.
Marina Da Silva - Le Monde Diplomatique
Jean-Luc Bertet - Le Journal du Dimanche
The show is of such high quality in artistic terms that it is truly a
theatrical event. The choice of the piece by Sophocles, Antigone, is an
extremely just one in relation to the situation in Palestine without there
being any need to “force” it in a way at all, or to make it say anything
Jean-Pierre Han - L’Humanité
else than what it says.
Adel Hakim’s vision brings Sophocles to the modern world but does
not link it to any one event or character. Or at least not in a visible
way. The lighting captures the deep blue of Jerusalem nights. Everything
finds it expression here, in the edgy acting backed up by the fine, toothcomb directing. And all this without pushing aside the Greek genius: the
intimate pain and lies of the powerful.
Gilles Costaz - Politis
Antigone made in Palestine. Served up by a remarkable troupe of
actors, Adel Hakim’s Antigone is played out in urban attire in front of
Creon’s palace. In Yves Collet’s beautiful set design, it could be mistaken
for the skyline of a modern-day city. Dressed in a hoodie and with her
hair blowing in the wind, the young Shaden Salim plays an Antigone who
is as as free from the shackles of religion as she is in revolt against the
laws of the tyrant. The piece truly is a mouthpiece for Sophocles, whose
thinking dazzles us here more than anywhere else in all its crystal-clear
modernity.
Patrick Sourd - Les inrockuptibles
The sparse aesthetics bring out the intensity of the actors. The
chorus, played by three men who sing and dance accompanied by the
Trio Joubran, is particularly effective. The work of the director skilfully
fades into the background in order to allow the words of Sophocles to
glow and for the talent of the actors to be shown.
Sylviane Bernard-Gresh - Télérama Sortir
A show of rare dramatic intensity, where the beauty of the set marries
brilliantly with that of the music and the Arabic language, and where
poetry and lyricism transport the audience members to unexpected
shores. Yonnel Liégeois - La Nouvelle Vie Ouvrière
This production is an act of peace which never views the tragic nature
of its epilogue as being an inescapable act. With flying colours, Shaden
Salim pulls off an Antigone minus the veil and with dishevelled hair. This
mythical figure, come from beyond the time of monotheisms, embodies
the claim for a freedom for women.
Patrick Sourd - evene.fr
This show is an absolute must for those wanting to rediscover
Sophocles.
Philippe du Vignal - Théâtre du blog
The show turns out to be a true gem embedded in an aesthetically
sumptuous stage-set.
Martine Piazzon - Froggy’s Delight
Mourning/light: black and white are not the signs of a form of
Manichaeism, but the symbols of tragic purity. Moving and potent.
Laura Plas - Les Trois coups
With its edifying echoes to modern times, the Sophoclean tragedy
dazzles with its modernity and invites each of us to prefer peace to pride.
Elsa Pereira - Timeout
This work is a marvel of commitment, and will to live, as well as
being a message of peace. But it is also a marvellous accomplishment
in artistic terms: the powerful acting of the actors, and the simplicity
and strength of the directing places this troupe along with the greatest.
Camille Hazard - un fauteuil pour l’orchestre
Antigone
PERFORMANCE SCHEDULE
2016/2017 SEASON
JANUARY 2017
Opening show of the new theatre
Manufacture des Œillets Ivry-Paris
This show is available for touring
in 2016/2017
pEriod > February TO JUNE 2017
Antigone was created in May 2011 at the Palestinian
National Theatre in Jerusalem and went on tour in the
region.
Since 2011, Antigone has been shown 120 times in
Palestine, France, Cyprus, Belgium and Sudan, and
received the 2012 Critics Award for best foreign
production in France.
Chroniques de la vie palestinienne
Diaries of Palestinian life
Cabaret, sketches and songs
A short form by the Théâtre des Quartiers d’Ivry
and the actors of the Palestinian National Theatre
directed by Adel Hakim and Kamel el Basha
with Hussam Abu Eisheh, Alaa Abu Garbieh, Kamel Al Basha
Shaden Salim, Daoud Toutah
texts by Hussam Abu Eisheh, Kamel El Basha,
Ibrahim Jaber Ibrahim
In Arabic and French
simultaneous translation by Adel Hakim
duration 1h10
This show is available for touring
in 2016/2017
pEriod > February TO JUNE 2017
Life goes on, in the Occupied Territories. With all its drama,
festivities, loves, and dreams. But the tragedy of a people is the
tragedy of individuals before anything else. These individuals are
complicated human beings, with all their aspirations and pain. Often
they have no choice but to react to these dead-end situations with
humour and irony. It is perhaps the energy of despair, but it is energy
all the same. Energy for life, struggle, and the thirst for survival. The
will to escape from the difficulties of everyday life. It is this energy
which allows them to get over the worst with a smile on their face.
The different scenes take place in a cemetery, morgue, amongst a
family watching the television, or during a trip to France...
In the venues where this short form has been shown (in
Ivry, Aubergenville, Clamart, Champigny, Juvisy, and ChâtenayMalabry), spectators have found themselves, to their surprise,
laughing and crying at the same time. This is theatre of the here
and now, and which grapples with reality. Not only in Palestine
but with the world.
“These Chroniques de la vie palestinienne have been written by
three of the actors but they are enacted by the entire troop. They
provide us with fast and furious, intriguing dialogues between a
storyteller, Hussam Abu Eisheh, and Adel Hakim, his double, and
bringer of apostrophes. The latter watches over him, contradicts,
taunts, and in this instance, translates his words for him. He is
also a story-teller, in a verbal jousting match that only ends when
the last word has been had. Each actor takes it in turns to act out
one of the sequences, with subtitles in French, situated somewhere
between the kingdom of the dead and the land of the living.
Trouble is stirred up because the living are inhabited by the dead,
and the living do not necessarily remain so for long. The dialogue
between the two sisters in their grave (Antigone is not that far)
is a gem...
In a choreography of words carried along with a lightness of
touch, this is cataclysm and survival, in the 22% of a native land
which has been confiscated, and where the irony of everyday
life wins the day. With the provisions for the journey to France,
passport and border crossing, put into perspective with the checkpoints and body searches, we are treated to a “psycho-melodrama”
which sends shivers down our spine whilst also making us laugh.
It is an ode to life, love, creation, and dreams, given a freedom
of tone in which the light-hearted battles it out with tragic, as
does the absurd with reason.” Brigitte Remer - Théâtre du Blog
Coproduction : Palestinian National Theatre, Théâtre des Quartiers d’Ivry. With help from the Consulat Général de France in Jérusalem, Centre Culturel Français Chateaubriand, Cooperazione Italiana allo Sviluppo Ministero Affari Esteri, TAM et the Groupe des 20 théâtres en Ile-de-France.
Licences : 1-1038981 / 2-1036271 / 3-1036272
Zone Six