From JEAN-PIERRE HAN, Vice President of AICT-IATC
December 14 and 15, 2010
Organizers of this conference invite presentations, of up to 15 minutes in length, that discuss the state of drama criticism and theatrical production in the presenter’s home country. What are the links—or interferences—between dramatic criticism and the development of theatrical production? Does dramatic criticism participate in the chain of theatrical creation? If criticism has a role, how does that interaction occur?
The conference, including a series of roundtable discussions, will be held December 14 and 15 at the Theater of Caen. Ten contributions by critics are planned. Roundtable discussions will focus on shows seen locally and on dramatic criticism from the Internet (blogs, etc.).
La Comédie de Caen
International guests are invited from Monday, December 13 until Friday, December 17.
During the stay in Caen, guest critics will have the opportunity to attend two plays presented in the official programming of the Avignon Festival :
- La Mort d’Adam, by Jean Lambert-wild, director of the National Center for Drama in Normandy. Patrice Pavis wrote of the productions that “in spite of the complexity [of its] device, of the multitude of tracks and interpretations, this play gives an impression of lightness, harmony and humor. An impression certainly engendered by the very mastered configuration of each of the components (read text, high-definition video, music, magic, photography) and their combination in the production.”
- Wolfstunde, by Silke Mansholt. Performer Mansholt raises questions, in Wolfstunde (Wolflesson), on the wolf that is inside each of us, on the dark part of each individual and the battle between the dark part and the lighter, human part. Based on Mansholt’s personal experience, the work questions the power and impotence of art. Is art free? Are we? If there are, in our contemporary world, wolves and scapegoats, are we wolves or scapegoats? If we are trying to be what we do not want to be, is the wolf transformed into a scapegoat—or is the scapegoat transformed into a wolf? (Adapted from the Festival d’Avignon website)
Participants may also become familiar with the IMEC (Memory Institute of the Contemporary Edition) which possesses archives of such writers and artists as Jean Genet, Bernard-Marie Koltès, Kateb Yacine, Michel Vinaver, Jerzy Grotowski, Antoine Vitez, Alain Françon, and many others.
Deadline for application is 16 November 2010.
Director, National Center for Drama in Normandy
Vice President, AICT-IATC