Falaise

In the darkness of the caves, sound was like a compass for mankind. A light to guide them through blindness. A song to light up the walls. Screams were needed to lead the way. Songs were needed to brighten the darkness. Here too, it screams, it searches, it gropes. It moves forward as best as it can in the tunnel of times. Is it the foot of the wall or the top of the world? Does life die here or is it reborn? But it falls and rises with the same clarity, with the same innocence, with the same insistence.

It wants to pull through. No matter the cost. It’s many. It’s a flock. It’s a crowd. Almost a family. And, in the gaps left by a world in ruins, it invents something new. Another end of the world is possible – it has even begun. That’s what these bodies say. Those of a life that shines, those of a life that knocks.
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Second part of the diptych started by Là, Falaise is not really a sequel. It’s more of its opposite side. Its real place. The glove turned around. We have moved to the other side of the wall, the other side of the world. This teeming life, overflowing through the walls. Here it is, in front of us. Worried. Fragile. Obstinate. Stubborn. Plural. She’s not quite finished. She still has things to say. She comes from far, far away. Or speaks for later. She’s not sure whether she has survived the disaster or if she is ahead of it. She just doesn’t know.

One thing is certain though: she is trembling – with joy, tenderness, fear, and desire – desire to move forward, to not give in, to not go back, to find out how, to agonise, to blame, to be guilty, horribly guilty of being this hiccup of the world, she hesitates, she hesitates and doesn’t care, she seeks to assemble, she plays the roles, and then disturbs what was expected of her. Whatever. She’s shaking. Like she’s alive. After all, she is life itself. The one who insists.

authors and directors Camille Decourtye and Blaï Mateu Trias
on stage Lucia Bocanegra, Noëmie Bouissou, Camille Decourtye, Blaï Mateu Trias, Oriol Pla, Julian Sicard, Marti Soler, Guillermo Weickert, a horse, pigeons
collaboration in directing Maria Muñoz – Pep Ramis / Mal Pelo
collaboration in dramaturgy Barbara Métais-Chastanier
scenography Lluc Castells assisted by Mercè Lucchetti
sound creation Fred Bühl
lighting design Adèle Grépinet
costume design Céline Sathal
recorded music Joel Bardolet
technical management Sébastien Reyé
lights Nicolas Zuraw
stage management Mathieu Miorin, Benjamin Porcedda and/or Cédric Bréjoux.
sound Fred Bühl or Rodolphe Moreira
animal care Francis Tabouret or Perrine Comellas
managing director/promotion Laurent Ballay
administrator of production Caroline Mazeaud
production manager Pierre Compayré
photos François Passerini
production Baro d’evel
co-productions GREC 2019 festival de Barcelona, Teatre Lliure de Barcelone, Théâtre Garonne, scène européenne, Malraux scène nationale Chambéry Savoie, ThéâtredelaCité – CDN Toulouse Occitanie, Pronomade(s) en Haute-Garonne, CNAR, L’Archipel, scène nationale de Perpignan, MC93 – Maison de la Culture de Seine-Saint-Denis, CIRCa, Pôle National Cirque, Auch Gers Occitanie, Le Grand T, théâtre de Loire-Atlantique, le Parvis, scène nationale Tarbes-Pyrénées, Les Halles de Schaerbeek – Bruxelles, L’Estive, scène nationale de Foix et de l’Ariège, le cirque Jules Verne, pôle national cirque, Amiens, la scène nationale d’Albi dans le cadre du soutien du FONDOC, Bonlieu, scène nationale d’Annecy, La Comunidad de Madrid (Teatros del Canal), le domaine d’O (Montpellier 3M), Houdremont, scène conventionnée de la Courneuve, 2 Pôles Cirque en Normandie / La Brèche à Cherbourg – Cirque-Théâtre d’Elbeuf.
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project beneficiary of the PYRENART cross-border cooperation project, under the Interreg V-A Spain-France-Andorra programme POCTEFA 2014-2020 – European Regional Development Fund (ERDF)
residencies Théâtre Garonne, scène européenne, Les Pronomade(s) en Haute-Garonne CNAR, CIRCa, PNC, Auch Gers Occitanie, ThéâtredelaCité – CDN Toulouse Occitanie, Le Théâtre de Lorient, La Brèche, PNC de Cherbourg, L’Avant-Scène Cognac
with support from DGCA, Ministry of Culture and Communication,  the Haute-Garonne County Council, Ville de Toulouse and Generalitat de Catanlunya, ICEC

The company is under financial agreement with Ministry of Culture and Communication and Regional Directorate of Cultural Affairs of Occitania / Pyrenees – Mediterranean and the Region Occitania / Pyrenees – Mediterranean. It receives operational funding from the City of Toulouse.