pleurePASpapa
rhapsodic performance
pleurePASpapa reveals a chance encounter between a stranger and a local woman. Their meeting takes place in a place where there is no point in chasing away ghosts.
pleurePASpapa is the staging of a secular ritual. An actor and a musician recount, through their respective bilingualism, what has been witnessed.
pleurePASpapa is a rhapsody: ‘an instrumental work composed of juxtaposed themes of popular or regional inspiration’.
credit : Andréa Warzee / performance of pleurePASpapa at the Théâtre des Clochards Célestes in Lyon, October 2023
I grew up with two languages, two imaginary worlds, two cultures, two sources of daydreams, symbols and exchanges. To have two languages is to live by making constant choices, and to experience the bittersweet pain of letting go of a part of oneself.
I have sought to bring to light a fragile intimacy: that which binds me to Pasolini, that which binds a reader to an author, that of pupil and master, that of the young and the old. In ‘Gennariello’, a treatise on education for the younger generation, Pasolini reveals the world to a boy of about fifteen. I wanted to convey a vision of the present world through the eyes of someone who might have been Gennariello’s son, Pasolini’s grandson.
Jules Benveniste
credit : Andréa Warzee / performance of pleurePASpapa at the Théâtre des Clochards Célestes in Lyon, October 2023
The text is a pastiche. It is written in French, Italian and Roman dialect. It features verses whose metre blends the rules of these languages. Inspired by Pasolini’s poetics, it conveys contemporary images interwoven with ancient history, in a language constructed in the style of Harlequin’s costume. The sound, meanwhile, revolves around the encounter between a saxophone and electronic machines.
A polyphonic work in which every meaningful element is a voice and every voice an instrument – space is its soundbox. Languages, sound, costume, movement, music, light, matter and colour are its instruments. This vision seeks to make audible the often-neglected link between meaning and sensation.
CASTING
Written and Directed by
Jules Benveniste
Starring
Jules Benveniste, Lucille Gallard
Light Design
Mathilde Domarle
Sound Design
Lucille Gallard
Set Design
Andréa Warzee
Artistic Collaboration and Costumes
Violetta Latte
Assistant Director
Salomé Beaumont
Understudy (in development)
Sylvain Deguillame
Dramaturgical input on the text
Clara Christophe, Justine Dibling
Administration
Caroline Otupal
Duration
65 minutes
Audience
Ages 13 and over
‘I belong to a people in decline. Un popolo che cade. A decadent people. I belong to a people who have seen the light thanks to the migration of other human beings. My name is Simone. I crossed the mountains. I passed through the mountains. I walked through the mountains and I thought. I thought of my old man, the grandfather, my father’s father. My grandmother used to tell me that the old man, in the mountains, whistled with the wind. I imagined him. I felt him walking through me. I felt my breath bring him to life for the space of a dream, and I thought. I thought and I dreamed of speaking the language of the mountains. It’s hard to tell when you meet someone on your path whether they’re heading towards their destination or running away. Running away isn’t necessarily about shouting yourself hoarse as you run. There is a much slower, more gradual kind of running away. When I left my country, I wasn’t alone. I’m searching. I’m constantly searching for the last words he said to me before he left. If I were to trace the path we took with a pencil, it would be a long road, una lunga strada. La lunga strada di rabbia. I’d like to give them back to him, his words, le sue parole.’
PRODUCTION Bougier TOTO
CO-PRODUCTION LES ENVOLÉES 22/23 – Troisième Bureau (38) with L’Autre Rive (Eybens) ; Le Pot au Noir (St-Paul-les-Monestier); TMG (Grenoble) ; Troisième Bureau (Grenoble) ; Saint-Martin-d’Hères en scène (St-Martin-d’Hères) ; Textes en l’Air (Saint-Antoine-l’Abbaye) ; Théâtre de l’Iris (Villeurbanne) ; Théâtre des Marronniers (Lyon) ; Théâtre des Clochards Célestes (Lyon).
Set design : Ateliers du TMG – Théâtre Municipal de Grenoble.
SUPPORTED BY Dynamis Teatro (Rome), Espace des Forges - Coopérative Artistique du Théâtre des Collines (Annecy) Friche Artistique Lamartine (Lyon)
RESEARCH PROCESS Nouveau Grand Tour - Institut Français Italie, autumn 2022, 30 days (individual)
WRITING PROCESS Kaslik University of the Holy Spirit (15 days, Lebanon); National Theatre School of Canada (6 weeks, Montreal); National Higher School of Theatre Arts and Techniques (3 days, Lyon); Théâtre de la Petite Rue (10 days, Villeurbanne); Maison des Arts de la Bazine (7 days, Burgundy)
credit : Andréa Warzee / idem