The man of Aran

Robert FLAHERTY : director

David CHIESA : music

Off the coast of Ireland, on an arid, windswept island, the story of a fishing family through their daily activities. The father, to grow a meager harvest, makes the earth with his own hands by breaking huge blocks of stone, the mother walks the beaches to collect algae at the risk of being swept away by the waves while the son fishes from the up a huge cliff. The latter sees a whale shark. Soon there was excitement and the men from the village went out to sea to hunt the animal. Fishing days accumulate while the sea is raging ... The film is not the testimony of the life of its inhabitants at the time of filming but the search for the essence of this life and this island. Even today, the film has lost none of its strength and beauty. As with Nanouk, Flaherty has managed to bring these people through the decades and make them as alive as they were for his contemporaries.
Olivier Bitoun

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Fils de Garches

Rémi GENDARME : director

David CHIESA : music

In the 80s, those who saw me could say "this handicapped child so cute, he will not live long". So we had to go to Garches. There, we treated, we treated ... we repaired. We were straight and it was hard.
I go in search of former children who, like me, went there to get straightened. Together we immerse ourselves in the memories of long moments spent at Garches hospital : almost all the caregivers hurt us for our good. Between these meetings, my Garches wanderings and my confrontation with former doctors, I try to create a "community of memories".

Grass

Merian C. COOPER, Ernest SCHOEDSACK et Margareth HARRISSON  : directors

David CHIESA : music

The migration of a nomadic tribe from Asia, the Bakhtiari 5000 men, half a million horses, sheep, goats and monkeys, in search of a green grass, cross an icy river and oceans of snow.
The first quarter of the film shows scenes from the journey through southern Turkey and Jordan before meeting the Bakhtiari, absurdly called the "Forgotten People". The rest of the film reports on the most spectacular moments of this 45-day spring transhumance. The tests undergone by the nomads of the Baba Ahmadi tribe are restored in a lively way, in particular the perilous crossing of the Karun river and the climbing of the snow-covered Zadeh Kuh (4576 m), although in fact the conditions this year there, were better than usual.
(Extract from the catalog of the Royal Anthropological Institute written by James Woodburn)

La justice des poissons

Henri Jules JULIEN : director
Nanda MUHAMMAD : actress
Christophe CARDOEN : lights
David CHIESA : double bass

Show in French and Arabic
An Arabic speaker, multilingual and spiritual, dialogues with a fairly widespread idea: we, the inhabitants of European cities, do we not have a share of responsibility in the disasters that occur far from home, by the simple fact that we are rich ? But it poses - and poses us - another problem: do we all really understand the same thing when we tackle these questions? So she takes up the exact same idea, changing her point of view. "We" becomes "they". We were inside, we are outside - or the opposite. We were us, we are still us - but not the same. And since, from the start, the brilliant chat must accommodate on stage the presence of a stubborn double bass player, the two protagonists, forced to cohabit, are also forced to measure the extent of their disagreement. What if, from accepted misunderstanding, recognized differences in perception, the possibility of another sharing arose?

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Mme Magarotto

Jérôme BATTEUX : director

Flore AUDEBEAU : actress
Benoit CHÉRITEL : lights
David CHIESA : sound designer

The sweet life of a woman withdrawn from the world. The days flow at its own pace. It is neither too hot nor not enough. There is the surf, the sea air, the seagulls. Nothing seems to disturb his tranquility.
Without a word, the actress fuels the imagination of the spectator carried by a score sensitive to the border between mime and dance. A poetic journey that confronts the viewer with something very intimate: their relationship to themselves and to others.
With gentleness, madness and a touch of humor, Madame Magarotto offers a calm and intense moment at the same time. A distant place unknown, surprising and yet familiar.

Corées

Balázs GERA : director
Guillaume GILLIET : assistant director
Anne BELLEC / Jean-Jacques BLANC / Bérangère BONVOISIN / Florent CHEIPPE / Pauline LORILLARD : actors and actresses
MartineALTENBURGER / David CHIESA : music
Elissa BIER : scenography
PhilippeGILBERT / Delphine JAYOT : dramaturgy

A Hungarian cultural director, Balazs Géra draws from the tragedy of the Koreas the material of a documentary theater, involved.
With Philippe Gilbert, co-author of Requiem for Srebrenica by Olivier Py, Balazs Géra collects the raw materials for his proposal from journalists, members of the N.O.G. and historians. Theater of sound or visual archives, gathered among others by the director Dominique Thiel, Corées unfolds in four acts for four figures of the drama. The old lady, the soldier, the refugee and the president embody the witnesses, the war machine, the victims and the powers as resistance to power. On a bare stage, in front of a giant screen, six actors and a few musicians form a choir. They convey the tragic reality of historical events, from the origins of the disaster to its present extent.

Les premiers mots

Flore AUDEBEAU : actress
Christophe CARDOEN : visual artist
David CHIESA : double bass
Daniel STRUGEON : actor
Jean-Luc TERRADE : assistant director

"He" and "She" speak of the death of "the Other". These are their first words together, those that arise just after the death of a loved one. We learn from these words. We seize through flashes of light, the ineffable. Full of blatant corporality, this text takes us through different states, ranging from breathless speed to a feeling of exhaustion, relaxation ...
In an infinite movement between the beginning and the end, language and gestures tell the poetry of a lifetime.
Two actors, a musician and a plastic artist take this text for a common breath. There are 4 voices speaking simultaneously, the He, the She, the Other and the Ineffable. The scenography is minimal, plays on strong physical sensations (sudden cold, bright or ghostly light, melting of a block of ice ...). The double bass is the sonic counterpoint of the verb, it gives it flesh, in turn living or putrid. Light is dust, it slides over our bodies and reactivates the original big bang or absorbs us in its cosmic vortex.
What is the content of these words, if not the one that our time-swept bodies express? Through the text and the images produced, a hybrid compound is created where life, death and desire merge.

Little Girl

IInspired by the piece Origami blues by Michel GENDARME
Flora AUDEBEAU: adaptation and staging
Claire ROSOLIN Cie Mouka: mask and puppet 
Christophe CARDOEN: lights
David CHIESA: sound designer

Little Girl tells us a story of change, timeless, on the border of humanity. From the Hiroshima bomb to today, the metamorphosis of bodies operates, questioning our relationship to monstrosity and beauty.
The show features a young girl, Sadako, whose body, affected by the bomb disease, has become monstrous. She wants to be part of the group of 25 virgins from Hiroshima, who will be able to benefit from cosmetic surgery in order to regain beauty. But how do you find your face? How to recognize yourself? How to live with the stigma of history? Is it possible to transform? To move to another future?
Sadako dialogues with a storyteller, a more unreal character, who clears what would seem to be the rubble of a city in ruins, of a finished past.
As the remains are cleaned, we discover several mutations: that of Sadako Sasaki in 1945 in Japan, irradiated by the bomb; that of a little girl who turns into a crane, a bird symbol of wisdom and longevity; that of the horse which becomes blind; the one who finds herself transformed by cosmetic surgery; the one who by the black rain becomes a monster; this one again that fills our nights with ghosts.
Little Girl refers to Little Boy (the bomb) and to our little girls, our future generations. This hybrid creation wishes to explore human mutation in several forms. Shadows will shake up dimensions and scales, the mask will play on appearances, while light will reveal to the viewer almost invisible subtleties. As for sound, it will serve as narration, a sound metaphor for physical change.