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Rhinocéros






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 Théâtre de la Ville
From 29 April to 14 May 2011
  • Friday 29 April 2011 - 20h30
  • Saturday 30 April 2011 - 20h30
  • Monday 2 May 2011 - 20h30
  • Tuesday 3 May 2011 - 20h30
  • Wednesday 4 May 2011 - 20h30
  • Thursday 5 May 2011 - 20h30
  • Friday 6 May 2011 - 20h30
  • Saturday 7 May 2011 - 20h30
  • Tuesday 10 May 2011 - 20h30
  • Wednesday 11 May 2011 - 20h30
  • Thursday 12 May 2011 - 20h30
  • Friday 13 May 2011 - 20h30
  • Saturday 14 May 2011 - 20h30

length: 1h45


Eugène Ionesco Author
Emmanuel Demarcy-Mota Director
Ensemble artistique Company

Rhinocéros  re-creation


QUESTIONS FOR THE FUTURE
How does the normalization of individuals set in? The standardization of theirithoughts and language? What is the process of any form of metamorphosis?


Emmanuel Demarcy-Mota revives Eugène Ionesco's Rhinocéros which he first produced in 2004. Since then, among other plays, he staged Horváth's Casimir and Caroline, the story of the debacle of a young generation caught in the whirlwind of a history they refuse to see, and Brecht's Man for Man, the itinerary of a simple man, Galy Gay, who by changing his name changes himself into a merciless warrior; he is just the opposite of Bérenger, Ionesco's iconic character. Bérenger is a simple man too, but when faced with his fellow citizens' transformation into wild animals, remains true to his nature. Demarcy-Mota did not choose these plays haphazardly, Rhinocéros least of all.


Recreation
"I like to come back to playwrights who question the place and role of the individual in collective history, on his responsibility, his freedom of thought, beyond any form of individualism.
"ionesco, Brecht and Horváth belong in the 20th century. They are close to us, we know what they experienced, we are their descendants. Yet we live in a different time and that gives us  another perspective on their writings, a necessary distance.

The disembodiment of thought and language
"Ionesco knows how to depict dialectically every man's cowardice, conformism and hypocrisy. This melancholy mind from Eastern Europe has a rather virulent vision of the world and of men, but he does not write a theatre of despair. He obstinately stands on the side of creative objection, inventive fantasy and freedom. Rhinocéros draws a bewildering picture of the state of our material world, a sombre and ferocious allegory of ideological contamination. I now see with greater clarity than I when first staged it the way the play reveals how the normalization of thought and language, together with their gradual disembodiment, sets in. It is a funereally burlesque play that we wish to render with full energy.

An Intimate fracture
"Bérenger does not yield to contamination. Not because of any ideological commitment or out of bravery. He is devoured by his own ill-being; there is nothing heroic about him and he is close to 'the man without qualities…' He resembles those characters by Musil or Kafka who are so ordinary that they do not seem to exist as they pass through the world like embarrassing ghosts.
"The transformation of beings remains a mystery in Rhinocéros. The play is a myth and I now think, after having staged it previously, that, all things considered, it tackles the issue of commitment in a very modern way which in the 60's was really iconoclastic. Taking that as a starting point, we might get a new perspective.

A Company Today
"Besides, our purpose is not to revive a previous staging, but to explore it again with the same actors: they know the play from the inside, they have already felt its poise. So we may search for new angles with real freedom. That is why the company is an absolute necessity. A group of people who work and think together, who try to define together what new questions must raised for our future."

Interview : Colette Godard


TO ACCOMPANY THE PROCESS OF THIS NEW PRODUCTION OF RHINOCÉROS, EMANNUEL DEMARCY-MOTA AND THE ACTORS WILL DEVOTE A MOMENT TO RESEARCH, A FORM OF "LABORATORY" EXPERIENCE AROUND IONESCO'S WORK, HIS DRAMATIC BUT ALSO HIS AUTOBIOGRAPHICAL WRITINGS. THEIR REFLEXIONS WILL BE SHARED WITH THE AUDIENCE IN THE COURSE OF THE SEASON.       
 

 

directed by
Emmanuel Demarcy-Mota
assistant director
Christophe Lemaire
scenography and light designing
Yves Collet
assistant light designer
Nicolas Bats
music
Jefferson Lembeye
costumes
Corinne Baudelot
make up
Catherine Nicolas
props
Clémentine Aguettant
artistic collaboration
François Regnault
litterary adviser
Marie-Amélie Robilliard

Béranger
Serge Maggiani
Jean
Hugues Quester
Daisy
Valérie Dashwood
Le Patron du café
Charles Roger Bour
La Serveuse
Sandra Faure
La Ménagère
Gaëlle Guillou
L’Épicière, Madame Bœuf
Sarah Karbasnikoff
L’Épicier
Walter N’guyen
Le Vieux Monsieur
Stephane Krähenbühl
Le Logicien
Gérald  Maillet
Monsieur Papillon
Pascal Vuillemot
Dudard
Philippe Demarle
Botard
Jauris Casanova

production
Théâtre de la Ville-¨Paris, Grand Théâtre de Luxembourg, Le grand T-Scène conventionnée de Loire atlantique

 
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Théâtre de la Ville
directeur Emmanuel Demarcy-Mota
16 quai de Gesvres 75180 Paris Cedex 04
2 place du Châtelet 75004 Paris
tél. adm. 01 48 87 54 42

9220 Association déclarée
identifiant SIREN 775 661 721
identifiant SIRET du siège 775 661 721 00024

entrepreneur de spectacles:
Licence 1 : 1-1051016
Licence 2 : 2-1051017
Licence 3 : 3-1051015
mentions légales   credits : Atelier 144