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1-11 of 11
- In 1967, during the making of "La Chinoise," film director Jean-Luc Godard falls in love with 19-year-old actress Anne Wiazemsky and marries her.
- It's summertime, 2021. Isabelle Huppert plays Lioubov, Chekhov's unforgettably heroine in The Cherry Orchard. In a near theatre, Fabrice Luchini recites Nietzsche. Both actors are premiering at Avignon's Festival. When they leave backstage to stand out on stage, they are completely transformed. As everything seems utterly natural, audience does not imagine what happened before. By following their daily lives during the weeks preceding the premieres, Benoît Jacquot brings a singular perspective of the two actors and shows them like we've never seen before.
- Bristling with silent scenes of his own invention, written in the style of a film scenario, this physical staging enrolls Woyzeck's disenchanted fantasizing in a social critique of the present times.
- A series of mysterious murders, break-ins and other events in Avignon all have to do with the papal palace and a prophecy legend has to be contained in it. Centuries old family and organized legacies, even the murderous secret Judas brotherhood, are obsessed by it. Cops from various agencies have totally different methods and attitudes. The criminal hustle complicates several romantic affairs, whether true or manipulative. All ends seem to meet in the Esperanza family and the papal palace itself.
- Jérôme Bel had wanted to do a show for a long time on the memory of a theatre, on the memory of the shows that would have been presented there. We know that of the shows, of the spectacular representation itself, nothing remains except in the memory of the spectators who attended them. Because it is precisely the very nature of live performance to die, to disappear. This is both its greatness and its weakness. It was while thinking of the Cour d'honneur of the Palais des Papes, undoubtedly one of the most symbolic places of theater in France, that he imagined a solution: a show placed on stage by spectators who themselves tell their memories of this place and the shows they saw there. The spectators invited to participate in this project are theater lovers, or not. They are between eleven and seventy years old; they are a student, teacher, graphic designer or nurse; they live in Vichy, Avignon, Paris or Clermont-Ferrand. Each in their own way, they testify to their experiences as spectators, good or bad. The stakes of this creation are therefore to try to quantify the reception of the shows by the spectators, to measure the influence of art on their lives. In the Court of Honor therefore. Because it was necessary to give the spectator the place he deserved: the place of honor.