Creative research laboratory - Lyon
Theater / Dance / Circus / Music
de création artistique – Lyon
From 24 to 28 February 2015
Création Dance / Theater
Following on Coûte que coûte, which Brigitte Seth, Roser Montlló Guberna and the support of Élisabeth Gonçalves, created for les Subsistances in March 2014, ¡Esmérate! is a continuation of their quest for happiness.
With eight actors on stage, ¡Esmérate! – a Spanish expression meaning “do your best”– vacillates between humor and a sharp sense of despair. In a vulgar whisper that sometimes gives way to angry explosions and desperate calls for goodness, men and women roll up their sleeves and get to work trying to see clearly in this barbaric confusion and find routes to happiness. They try out every role, try on every costume, change bodies and even sex to see . . . to learn . . . . They are beautiful, ugly, generous, bitter, tight fisted and starving in turn. A mosaic of meaning and forms appears. Each participates in this symphony of chaos with the illusion of living. Living in a world made by humans, for humans? Let’s see!
¡Esmérate! is looking for a dance of happiness and examines the state of the world. Élisabeth Gonçalves wrote the dialogues, which the dancing and speaking figures take as allegories for successive states of the world. Comprised of bodies as well as words and music, poetry and presence, the theater of Brigitte Seth and Roser Montlló Guberna persists in asking us: “Well? Is real happiness possible? What is happiness? Does it have a color, particular clothes, a dance? Here, will this do?”
Mise en scène et chorégraphie : Brigitte Seth et Roser Montlló Guberna (Compagnie Toujours après minuit)
Texte : Élisabeth Gonçalves
Acteurs et danseurs : Sébastien Amblard, Jim Couturier, Louise Hakim, Frédérique Loliée, Roser Montlló Guberna, Christophe Pinon, Brigitte Seth, Élise Vigier
Assistanat à la mise en scène : Jessica Fouché
Scénographie : Emmanuelle Bischoff
Lumière : Dominique Mabileau
Son : Hugues Laniesse
Costumes : Sylvette Dequest
Régie : Olivier Mendili
Production : Véronique Felenbok
Diffusion : Antoine Blesson
Coproduction : Le Théâtre Gérard Philipe de Champigny, Les Subsistances à Lyon, la Briqueterie-CDC du Val de Marne, le Gallia Théâtre à Saintes, la Scène Nationale de Saint- Nazaire, la Scène Nationale d’Orléans, la Comédie de Clermont-Ferrand, le Théâtre National de Chaillot.
Toujours après minuit has performed numerous pieces since its founding in 1997: El Como Quieres (1997), Personne ne dort (1998), Suite pour quatre (2000), L’Entrevue (2001), Rosaura (2002), Revue et corrigée, es menschelt… (2004), Epilogos, confessions sans importance (2004), Je te tue, tu me tues, le premier de nous tous qui rira… (2006), Récitatifs toxiques (2007), Galeria (2008), À la renverse (2008), Genre oblique (2010), Avant-propos, un récit dansé (2011), and Change or die (2013).
Its two director-choreographers, Roser Montlló Guberna and Brigitte Seth, have also been asked to choreograph and/or direct operas. From 1999 to 2000, they collaborated on the Monteverdi trilogy under the musical direction of Jean-Claude Malgoire, and in 2001 they choreographed Madeleine aux pieds du Christ by Antonio Caldara, which was performed at l’Abbatiale during the Chaise-Dieu festival with musical direction by Arie Van Beck. In May 2007, under the musical direction of Jean-Claude Malgoire, they directed and choreographed Gluck’s Orfeo Ed Euridice.
Toujours après minuit has also put on numerous performances, collected under the generic name of Luna i Lotra Performing, in various contexts: seasonal presentations, shared soirées, festivals. It has also organized a performance Ball (already presented at the Comédie in Clermont-Ferrand, as well as in Strasbourg, Tours, Paris, Pantin, Alençon, Blois, etc.).
“Germán, who doesn’t know how to play the piano, wrote a song for us. It’s called Araucarias. His piano teacher told him he would have to learn to play it as if he hadn’t written it. I didn’t choose the theater either, and even less so the role of actor. But it’s the first thing I did in the theater, which brought me closer to it, and also the first thing I rejected. Does getting out of your comfort zone make you happy?