FEYDEAU ROOM 21

Le vaudeville dont Georges Feydeau est le héros

création originale de Thierry Barbeau & Pierre Berriau

with

Philippe DUQUESNE Pierre BERRIAU Caroline PROUST Michel BOMPOIL Elise GHIENNE

Musician Jean RAFFIN Director Thierry BARBEAU

Le Centre Français

died insane. He was interned in an asylum in Rueil-Malmaison from 1919 until his death in 1921.

The best way to mark the centenary of his death is perhaps not so much by staging one of his own plays, but by writing a new play.

Not by writing a historical play but, based on his own life, a comedy in which Georges Feydeau, shut away in his bedroom in his house, and shut away in his own insanity, becomes the hero of his own vaudeville.

And a man who is so familiar with the mechanisms of vaudeville can’t help finding a way out of every situation.

Juin 1921. Rueil-Malmaison.

Georges Feydeau, the famous vaudeville writer.Sacha Guitry, a friend of the famous vaudeville writer.Camille Claudel, a “free” artist who was locked away.An almost South American general doctor.Servants who are masters of the situation. Fake cinema and real Asian vaudeville.Debussy’s Clair de Lune on the piano. Sexual drive. Hope of a return to complete health. And a room 21 with a door.It only remains to open it.

GEORGES FEYDEAUFE

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FEYDEAU, CHAMBRE 21 Length 1h50

ORIGINAL IDEA AND TEXT THIERRY BARBEAU PIERRE BERRIAU

DIRECTION THIERRY BARBEAU

CAST PHILIPPE DUQUESNE CAROLINE PROUST MICHEL BOMPOIL PIERRE BERRIAU ELISE GHIENNE and one other actrice

MUSICIAN POETa (guitars and machines)

MAKE-UP MÉLANIE BRUNEAU

COSTUM made by the workshop of the d’ANGERS-NANTES OPERA

COSTUM DESIGNER CAROLE ABDOU-COLLIN MUSIC COMPOSED BY

PIERRE BERRIAU & POETa

With the Support of Centre Français de l’institut international du Théâtre (ITI- UNESCO)

ANGERS NANTES OPÉRA The Town of la Roche sur Yon (Financial backing for new production)

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Philippe DUQUESNEa travaillé au théâtre sous la direction d’Alain Françon (Du mariage au divorce, l’Hôtel du Libre échange), de Jérôme Deschamps et Macha Makeïeff (Lapin Chasseur, les Pieds dans l’eau, Les Précieuses Ridicules), de Jean-Louis Benoît (Les Autres), de Ludovic Lagarde (Fairy Queen) et au cinéma et à la télévision sous le direction de Jérôme Deschamps et Macha Makeïeff (Les Deschiens), de Dani Boon (Bienvenue chez les Ch'tis), d’Albert Dupontel (9 mois ferme, Au revoir là-haut), de Quentin Dupieux (Au Poste).

Caroline PROUSTa travaillé au théâtre sous le direction de Ivo van Hove (Vu du pont), de Jean-Louis Martinelli (Kliniken) et d’Alain Françon (E, roman-dit ) et au cinéma sous le direction d’Alexandra Clert et Guy-Patrick Sainderichin pour la série policière de Canal+ (Engrenages), d’Alain Corneau (Le Cousin), de Christian Bonnet  (Une mort sans importance)

Michel BOMPOILa travaillé au théâtre sous la direction de Yasmina Reza (Comment vous racontez la partie), de Stuart Seide (Henry VI) et de Marc Dugain (Une banale histoire d'Anton Tchekhov) et au cinéma sous le direction de Xavier Durringer (La conquête), d’Alain Chabat (Didier), d’Anne Fontaine (Nettoyage à sec), de Nicole Garcia (Un beau dimanche).

Elise GHIENNE

a travaillé au théâtre sous le direction de Catherine Gandois, de Pierre Debauche (Théâtre Ecole d’Aquitaine), de Carlo Boso (La Folie d’Isabelle, Arlequin, Valet de deux maîtres), de Danuta Zarazik (le Cid) et de Thierry Barbeau (Ne Pas Aimer Phèdre)

Michèle-Anna MIMOUNI (pianiste, interprète, compositrice)

Pianiste, chanteuse et auteur-interprète. a composé et réalisé trois albums dont « Entre Ombre et Lumière » enregistré avec le pianiste de jazz Brad Mehldau.Pianiste au restaurant Maxim’s. Album « Michele-Anna chez Maxim’s »

Jean RAFFIN (comédien, compositeur et musicien)

Guitariste et chanteur-interprète dans Dirty Dance Swing. Compositeur de musique électronique pour le projet POETa. Comédien, musicien dans Djangor joue Django, L’illusion Molière et L’Espion Blanc sous la direction de Thierry Barbeau.

https://fr.wikipedia.org/wiki/Yasmina_Rezahttps://fr.wikipedia.org/wiki/Comment_vous_racontez_la_partiehttps://fr.wikipedia.org/wiki/Anton_Tchekhovhttps://fr.wikipedia.org/wiki/Alain_Chabathttps://fr.wikipedia.org/wiki/Nicole_Garciahttps://fr.wikipedia.org/wiki/Un_beau_dimanche_(film)https://fr.wikipedia.org/wiki/Ivo_van_Hovehttps://fr.wikipedia.org/wiki/Guy-Patrick_Sainderichinhttps://fr.wikipedia.org/wiki/Canal%2Bhttps://fr.wikipedia.org/wiki/Christian_Bonnet_(r%C3%A9alisateur)https://fr.wikipedia.org/wiki/Une_mort_sans_importance_(t%C3%A9l%C3%A9film)https://www.theatre-contemporain.net/biographies/Carlo-Boso/https://fr.wikipedia.org/wiki/Ivo_van_Hovehttps://fr.wikipedia.org/wiki/Guy-Patrick_Sainderichinhttps://fr.wikipedia.org/wiki/Canal%2Bhttps://fr.wikipedia.org/wiki/Christian_Bonnet_(r%C3%A9alisateur)https://fr.wikipedia.org/wiki/Une_mort_sans_importance_(t%C3%A9l%C3%A9film)https://fr.wikipedia.org/wiki/Yasmina_Rezahttps://fr.wikipedia.org/wiki/Comment_vous_racontez_la_partiehttps://fr.wikipedia.org/wiki/Anton_Tchekhovhttps://fr.wikipedia.org/wiki/Alain_Chabathttps://fr.wikipedia.org/wiki/Nicole_Garciahttps://fr.wikipedia.org/wiki/Un_beau_dimanche_(film)https://fr.wikipedia.org/wiki/Bienvenue_chez_les_Ch%27tishttps://fr.wikipedia.org/wiki/9_mois_fermehttps://fr.wikipedia.org/wiki/Au_revoir_l%C3%A0-haut_(film)https://fr.wikipedia.org/wiki/Bienvenue_chez_les_Ch%27tishttps://fr.wikipedia.org/wiki/9_mois_fermehttps://fr.wikipedia.org/wiki/Au_revoir_l%C3%A0-haut_(film)https://www.theatre-contemporain.net/biographies/Carlo-Boso/

STATEMENT of INTENT

Feydeau, fin de siècle, the story of a man who lived at 200 miles an hour.

Feydeau saw everything and lived life to the full: taking in all of Paris, the grands boulevards, the luxury, the power, the women and the young men, the collections of works of art, the appreciation of his peers and of the public, drugs, but also nostalgia, creative doubt, money problems, solitude ...

And some years later, in 1919, we find the same man finally in the middle of nothing, at the end of his life, his body failing, and his mind in totally chaotic disarray. In short, he was in the front row watching the sorry spectacle of the rapid decay of his being.

A man whose life was now divided in two – the eternal conflict between the driving forces of life and death: EROS versus THANATOS.

Death always wins too soon.

So there is no choice but to stage this Desire, right up to the end, right up to his final breath. His and ours.

To do everything possible to keep desire alive, whatever the cost.

Desire as the only antidote to death.

The desire to act his life like a play and to act the play like his life.

The complete and total desire to make people laugh.

The desire to waltz and to make voices sing.

The desire to recreate on stage the young cinematographer.

The desire for total spectacle.

And the desire to narrate, with abandoned laughter, the tragi-comedy of Georges Feydeau’s life, like the image of the great human, existential comedy that touches all of us.

pierre berriau . thierry barbeau . January 2018.

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SCENOGRAPHIC & MUSICAL NOTE

“I am petrified with admiration for this mathematician, clockmaker, engineer, magician, demiurge who invents, dreams, combines, constructs, rebuilds, and can imperturbably and

impeccably make a machine that is so complicated, so miraculous, so perfect, without a single cog out of place or a single spring broken.”

Jean Richepin, poet and dramaturge (1849-1926)

Although the manuscript of “Feydeau, Room 21” dismantles, in its own way, the clockwork-like precision of the different mechanisms of vaudeville, the scenography itself will reveal a machine in full working order.

It aims to make full use of theatrical machinery to show the apparatus at work, the upward forces of the décors, the attraction of beings for each other, and the gravity of bodies.

In other words, to bring out all the invisible mysteries of a show in performance; hiding nothing, but showing everything. Offering, with total transparency that great game of theatrical construction in order to increase the audience’s pleasure at being there, both in front of but also inside the show.

Music is seen as an indispensable part of the vaudeville - an omnipresent music that is played and sung live by the actors to highlight the depth of the characters even at their darkest and, conversely, their joy and gaiety.

A classical baby grand piano for the music of Claude Debussy, played by Michèle Mimouni, to which is added little by little the modernity of guitars and electronic instruments.

The show is conceived in praise of rhythm, in praise of laughter, in praise of movement.

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Thierry BARBEAU (writer and director) Armed with a secondary school teacher’s diploma in Modern Literature, for which he studied the theory and practice of theatre under Gilles Tamiz, Thierry Barbeau then obtained a higher qualification in dramatic art.

He further developed his work in the theatre by writing his own material, joined the SACD (= Society of Dramatic Authors and Composers) and naturally created his own professional company for which he has written and directed shows in which different performing disciplines intermingle – theatre, music, cinema and dance.

Djangor joue Django  (Djangor plays Django), which tells the story of the life of Django Reinhardt and the birth of Swing.

L'illusion Molière,  which explores the relationship between Molière and Corneille.

Ne Pas Aimer Phèdre (Not loving Phèdre), which deconstructs the work of Jean Racine with the aim of making the audience love it.

… and a final panel, still in the process of writing: Shakespeare è Cosa Mentale, a project that interweaves the Italian, English and French languages and the genres of contemporary dance, theatre and music.

His plays have also been performed in Spain (Bilbao and Zaragoza) and in Switzerland (Festival Francophone de Lausanne).

Following his studies at the Ecole internationale de theâtre Jacques Lecoq, Thierry developed his performance with masks. He wrote, directed and acted in the first performances of his production L’Espion Blanc  (the White Spy), which combines live music, silent cinema and theatre.He has also been invited as a drama teacher abroad (in Italy since 2014 and in Russia, in Moscow in 2017 and 2019)

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Pierre BERRIAU (co-writer, actor)

Pierre Berriau studied acting at the Nantes Conservatoire and then at the Conservatoire National Supérieur in Paris. Since then he has continually evolved between the world of cinema and theatre, working with some of the greatest directors. As a musician and singer he has been writing songs since 2018 for his first album which is in production at the moment.

THÉÂTRE

Ivo Van Hove (Vu du Pont), d’Alain Françon (L’hôtel du Libre-Echange - Pièces de Guerre - La vie parisienne ), de Ladislas Chollat (L’Ouest Solitaire), de Claire Simon (La Gare du Nord - Objets d’amour ), de Jérémy Lippman (L’Affaire de la Rue Lourcine - Quelqu’un va venir ), de Claudia Stavisky (L’Âge d’or), d’Eric Elmosino (Petit rôles). 


CINÉMA

Francis Weber (Les Fugitifs), de Manuel Poirier (Marion), de Claire Simon (Sinon, oui), d’Olivier Dahan (Le Petit Poucet), de Christian Vincent (Sauve-moi), de Bertrand Tavernier (Laissez-passer), de Jérôme Cornuau (Les Brigades du Tigre) de Romane Bohringer et Philippe Rebbot (L’Amour Flou), de Michaël Haneke (Le temps du loup), de Benoît Jacquot (Les Adieux à la Reine).

FEYDEAU CHAMBRE 21

création originale de Thierry Barbeau& Pierre Berriau

Avec Caroline PROUST Pierre BERRIAU

Philippe DUQUESNE Michel BOMPOIL

Elise GHIENNE Michèle MIMOUNI

Jean RAFFIN

with the support of

CONTACT

ITI FRANCEJoël-Maxime GhienneGeneral secretary of the french Centre ITI

Mobile France : +33 686 556 026

j.ghienne@iti-france.eufeydeauchambre21@gmail.com

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