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théâtre/theater/theatre (Marseille – Bruxelles/Brussel) théâtre Vingt-Sept taxithéâtre Taxistop 2.3.4.7.8.9.10.14.15.16.17.21.22.23.24/05 > 20:45 & 22:30 +/- 60’ Fr & Nl € 12,5 – 8,5 Billets en vente uniquement à la billetterie Tickets enkel te koop in het bespreekbureau Tickets on sale only at the box office. Création/Creatie/Creation Direction artistique/Artistiek directeur/Artistic Direction: Anne Marina Pleis Assistée de/assistent/assisted by : Eva Wilsens 11 projets par/projecten door/projects by: Pôm Bouvier – Charo Calvo/Johan Derycke –Berti Gonzalez – Cécilia Kankonda – Stefan Pastor – Pascale Pilloni – Edith Amsellem/Karine Jurquet/Pierrot Renaux – Jean-Marie A. Sanchez – George van Dam –Laurent Vignaux – Hilde Wils Installations/Installaties/Installations: Francis Ruggirello Régisseur technique/Regisseur techniek/Technical Director: Mohammed Adgham Soudure/lassen/welding : Aurore Fruy, Alex Seminyachenka Chargée de production/productieleiding/production leadership : Mariane Cosserat Stagiaire production/stagiair productie/production trainee : Jo Frenssen Photo/foto/photo : Anne Delrez Photo & mise en page/Foto & lay-out/Photo & Lay-out: Liesbet Peremans Production/Productie/Production: théâtre Vingt-Sept (Marseille) Coproduction & Présentation/Coproductie & Presentatie/Coproduction & Presentation: KVS/de bottelarij, Théâtre de la Balsamine, Théâtre Les Tanneurs, KunstenFESTIVALdesArts Avec le soutien de/Met de steun van/Supported by: Association Française d’Action Artistique (AFAA) & l’Ambassade de France à Bruxelles Ville de Marseille, Conseil Général Bouches du Rhône, DRAC Provence Alpes Côte d’Azur, Vlaamse Gemeenschapscommissie, Partenariat La Marseillaise, So What Café, Théâtre du Point Aveugle, F.R.M. Brussel, Brussels Downtown 12
A car awaits you. As at the theatre you have switched off your mobile phone, Then you leave. For an hour-long performance in motion. Nobody asks you anything. A journey. The streets unfold before your eyes, The window is slightly open. And perhaps here, the actor starts to speak. Or maybe it’s the car radio. Or maybe it's something completely different. You listen… You watch… And, gradually, the reality that surrounds you starts to alter. Cloaked in unfamiliar colours. Now you begin to dream of this city. Anne Marina Pleis was born in Düsseldorf and then settled in Berlin to work. She set off for Marseille and planned to settle there, which she did after more than four years of nomadic wandering between Germany and the South of France. In 1991, she set up the Théâtre Vingt- Sept in Marseille and gave it this name because 2 + 7 make 9 like 'neuf' in French which also means new, or just because she prefers numbers to explanatory terms. But, throughout all her projects to come, each production has revisited one essential phenomenon that frustrates her in traditional theatres: the notion of unity. How to create the most favourable conditions so that the barrier (mental or physical) which separates actors and spectators diminishes until the presence of one merges into the expectations of the other as naturally as possible. This is how the taxitheatre project came about in Marseille in 1999. There have been two productions of it. So Anne Marina Pleis has come back up the A6 motorway from the South of France and has arrived in Brussels with some of her actors to travel to every corner of this city, somewhat similar to Marseille with its multicultural population, to meet the actors here and to kick-start the adventure along carefully explored routes, with the added flavour of new suggestions for words, music and sounds from the Brussels artists. Along with the KunstenFESTIVALdesArts, three other French and Dutch speaking theatres are becoming involved together on the outer edges of this odyssey and are co-producing this urban project, which originated in Marseille, but which they are ready today to introduce onto the roads of their own city: Théâtre de la Balsamine, Les Tanneurs and KVS/de bottelarij. Did Anne Marina Pleis mention ‘unity’? What was the one detail, real-life, read or seen, that inspired the birth of the remarkable project, taxitheatre? I love driving to the sound of the radio, being at the wheel and hearing these faceless voices, so close, so warm. Driving in the car fires the imagination, the night is even more enigmatic than the day. When I arrived in Marseille, I drove around a lot to discover the town and I liked not knowing where chance would take me. As a stranger in a town, all the everyday details are intriguing and capture your attention because you are always on the lookout and eager to absorb everything. This ceases to happen once things become familiar… Plus, the car is a very personal space. Emotionally, I love it. Intellectually, I hate it. It is private property, expensive at that. And yet it is only useful in the public domain. Where do these current attitudes come from: everyone thinks that the highway code is for others, other people who relentlessly disturb and bother us on our journey. The highway code is however the regulating law which is essential in order for us to be able to share this public space in harmony. It always sends shivers down my spine when I think of the fact that the car has caused more deaths since its invention than the two world wars put together. How did you become aware of this synchronisation between the car and the theatre? The theatre also defends the idea of a public space and being for the public. I wanted to mix the rules of the private space which is the car with the rules of the public space which is the theatre, to welcome people to a point of public reception – a taxi rank – and then redisperse them in 13
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