Clôture de l’amour
text, conception and direction Pascal Rambert
with Audrey Bonnet and Stanislas Nordey
set design Daniel Jeanneteau
costumes La Bourette
music arrangement Alexandre Meyer from the song Happe (Alain Bashung - Jean Fauque), with the approval of Barclay/Universal© edition, sung by the children of “Scuola Voci Bianche” of Fondazione Teatro Comunale di Modena teachers Paolo Gattolin and Melitta Lintner
light design Pascal Rambert and Jean-François Besnard
Théâtre de Gennevilliers Centre Dramatique National de Création Contemporaine
coproduction Festival d’Avignon e Théâtre du Nord - Lille
with the support of Ile-de-France Regional Council, the city of Gennevilliers, and the cultural service of the city of Gennevilliers
with the support of Institut Français
Running time 2h
Played in French with Italian subtitles
I write Clôture de l’amour for Stanislas Nordey and Audrey Bonnet. It is Stanislas Nordey who talked to me about it first ; He said “I would like to be in one of your plays some day” ; I said “OK ; I am thinking of a separation, a hard one between a man, your age, and a woman, your age as well”. I said I wanted the girl to be Audrey Bonnet. He answered “I like her very much”. Then I said: “let’s ask Audrey ”she said “yes”. I write for Stanislas Nordey. I write for him, for his personal way to project words. For the precise articulation of the French language. This unique gift he has to transform language into a full respiration of the body. The body breathes with Stanislas Nordey. Every single word from first to last letter becomes a world of its own. A whole and complete world. His words are knives-glistening blades ready for use; triggered; armed; carefully ordered; ready to come out at the right moment. Words in order: in their first, secondary and tertiary aspects. With bare frontal objectivity; there, just out of the mouth; born by the nervous and dry power of the body; the body is dry; wicked; the mouth is mobile, unsatisfied, sour; the eyes follow some kind of endless panick. Astonishment. One hand, then both hands express and extend the idea. They come out of the body as if they were reluctant philacteries, cold first and then suddenly burning hot, as if set ablaze. The body is the holder. The whole body holds the speech; indeed the body itself is language. Never is diction brought to perfection ; never ; It is obvious: hands, mouth, eyes, legs -this hard ballet- come out tentatively, draw back, appear again, disappear once more, come back (never in a slow sliding movement) they push forward, far out there (to the far end of the stage) to the ground-mostly to the ground- then up there… scolding, irritating and repeating over and over (never retreating, never). Here we are, there is the meaning; there it is. In front of us, we have followed the meaning from the inside of Stanislas Nordey’s body (it was in the mouth, in the hands, we had seen it in the legs, the chest) now the meaning has come out of the body to stand there just in front of us. Material. Not funny. Crude”. Here, catch the meaning, it is real, blunt, catch it, it is massive weapon; and as it breaks up, it will conveniently damage the head.
This is what I write for. For Stanislas’ ability to do this.
I write for Audrey Bonnet. She, well, her character, has remained silent for half an hour, listening to Stanislas Nordey explaining with his hands, his mouth and chest why he is leaving her (closure of love) and now she takes a deep breath and she answers back. I write for Audrey. And it is very different from the way I write for Stanislas. I write for Audrey’s body, for this slender delicately curving body which is listening silently. Audrey is listening. I write for this listening spell and then for this slender body which has kept silent and now starts speaking. The medium low-pitched voice utters hard, blunt words. Sometimes the voice unexpectedly rises up to high tones and suddenly drops into the depths in a second; she is listening again. Silence. The body is waiting. It is breathing. It has been breathing since the start, for sure. But it is waiting. Audrey’s body knows better than anyone else how to create silence, how to question silently: ”So what?” and it can also look super active in absolute stillness. Almost stupid looking. I am here. I am (through my silence) filling your space. I am waiting. And then I carry on. The words are round. Flat. The words are flat and thorny. Sometimes lying completely abandoned in front of her because uncertainty has penetrated the meaning. The meaning has been invaded by doubt. The meaning of the words uttered has to be checked. Words are like dead fish on a stall, whose freshness has to be checked through eye examination. Meaning? Are you here, alive? What is the other side of the coin?
And what is the right side? Hello??? Where does it all start? Where does it go? All this is present in Audrey Bonnet’s game: incredulity, dismay. She listens to the crude, downright, material, hurting speech and she says: ”oh, really? Is that so? And the fight starts again, it goes on and on, Audrey Bonnet, the motionless fighter, catching the direct, crud, metallic, unpleasant words, catching them and examining them as if they were dead fish, to see if they are real living words and if love is undoubtedly dead".
It was in Nice, while he was still attending high school, that Pascal Rambert made its first staging. That was the beginning of an atypical artistic career that led him, step by step, to form his own company, Side One Posthume Théâtre, to publish his first play, Désir et Let Lits, and to begin the exploration of different art fields in France and abroad. He’s a curious traveller of the world and of the people who settle it, he got over United States, Syria and then Japan, to create shows inspired by what he discovers. During all these years, wherever he was, he never stopped teaching internship through the game, writing and dance, aimed at young professionals but also amateurs. Invited for the first time at the Festival d'Avignon in 1989, he wrote and directed Les Parisiens, before joining Jean-PierreVincent to the Théâtre Nanterre-Amandiers. In 1992, he presented two of his texts, John and Mary and De mes propres mains, which have a writing style that alternates privates part, duets and monologues to choral pieces, following the example of L’Épopée de Gilgamesh presented in 2000 at the Festival Avignon. Currently director of the Théâtre de Gennevilliers, National Drama Centre for Contemporary Art, carries out its main artistic activities as spokesman of a territory, without ever ceasing to travel the world, always eager for a confrontation between aesthetics and practice.
For VIE Scena Contemporanea Festival, Pascal Rambert presents Clôture de l'amour, text that draw on the style of Le Début de l’A, presented at the Festival d'Avignon in 2005.