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Théâtre/Theater/Theatre (Bruxelles) transquinquennal In God We Trust Théâtre Les Tanneurs 3.8.10/05 > 20:30 4/05 > 15:00 9/05 > 22:00 Fr > Sous-titres/Ondertiteling/Subtitles: Nl € 12,5 – 8,5 Par/Door/By: Raphaëlle Blancherie, Bernard Breuse, Miguel Decleire, Francesco Mormino, Stéphane Olivier, Nathalie Willame En collaboration avec/In samenwerking met/In collaboration with: François Jooris, Julie Petit- Etienne, Céline Renchon, Catherine Sommers, l’équipe du Théâtre Les Tanneurs Textes/Teksten/Texts: La fièvre - Wallace Shawn (traduction/vertaling/translation: Bernard Breuse) Quadrille albanais - Mac Wellman (traduction/vertaling/translation: Daniel Loayza) Production/Productie/Production: Transquinquennal Coproduction/Coproductie/Coproduction: Théâtre Les Tanneurs* (Bruxelles/Brussel), La Ferme du Buisson - Scène nationale de Marne-la-Vallée*, KunstenFESTIVALdesArts, Festival international des Théâtres Francophones en Limousin Avec le soutien de/Met de steun van/Supported by: Communauté française Wallonie-Bruxelles, service du Théâtre Présentation/Presentatie/Presentation: Théâtre Les Tanneurs, KunstenFESTIVALdesArts * Transquinquennal est en compagnonnage au/is in residentie bij/is in residence at Théâtre les Tanneurs (Bruxelles/Brussel) & la Ferme du Buisson (Marne-La-Vallée) Merci à/Dank aan/Thanks to: Daniel Loayza, Vanja d’Alcantara, Adel Boughezala, Speculoos, Dito’Dito, Ilir et Anila Suleimani, Xhevat Abazi, Haki Rugova, Jean-Michel-Vovk, Guy Decleire & Teresa Escudero, Milena Depelsenaire, Xavier Lukomski, Christophe Colomb & Leif Erikson Création/Creatie/Creation Rendez-vous avec les artistes après la représentation du 4/05. Ontmoeting met de artiesten na de voorstelling op 4/05. Meet the artists after the performance on 4/05. 16
The project In God We Trust was created three years ago, when we were looking for contemporary foreign texts and we asked ourselves the following question: “Which is the most exotic for us Europeans? Eastern Papua New Guinea? Amazonia? The Tyrol?” Finally, the least obvious but in fact the most honest answer was: “That which we most resemble!” We turned of course to the Americans. But who are these Americans who write plays? Basically we know the ‘classics’ or ‘naturalists’ (Arthur Miller, Tennessee Williams, David Mamet or Sam Shepard) or those who write for the cinema or who act. But who are the others? Do they exist? We began to investigate and we found them but, strangely no one here in Europe pays them much attention. There are then people in the United States who write plays and only plays! And writing plays is not the same as writing film scripts! The first of our discoveries was Wallace Shawn He earns a living as a character actor, with appearances in Louis Malle’s Vanya on 42nd Street, in several Woody Allen films and series like Star Trek. This has enabled him to subsidise writing his plays, which in their content and form have nothing in common with his day job. Shawn offers a different view of America, allows a more forceful opinion to be heard than that which we are used to. The Fever is a curious play. To say that it is only a monologue would be misleading. Although the narrator becomes aware of aspects of his personal life that he had never imagined, we are kept in the dark as to details of the character’s age, gender or individual characteristics. Through discomforting memories and an internal struggle, we are led step by step towards irresolvable guilt. Then there is Mac Wellman Mac Wellman challenges with gusto the omnipresence on American stages of plays about “the weeping child within us all”. He lauds theatre that speaks for itself and that is conscious of its means. With it, we are firmly rooted in the here and now, in its ludic and frenzied performances. In Albanian Softshoe, it’s as if Monty Python were writing with James Joyce after having been with Pinter. Unless it is the other way round. Or the contrary. Or it might well be a ménage à trois. Wellman leads us where he wants to and narrates American stories with great panache where the use of traditional codes of the genre open out into rather unexpected perspectives. We could for example say that Albanian Softshoe is a soap that explodes into an interstellar roadmovie, crossed with Albanian epics. Unless it is the other way round. Or the contrary. Or it might well be a ménage à trois. Poisonous Tomatoes A STATEMENT ON LOGIC AND THE THEATER By Mac Wellman The logic of the world and the logic of the theater are the same, but the relation of these is not so simple, it seems to me. Things can happen on stage that do not happen in the "real" world and vice versa. But the logic of events vis-à-vis other events on stage is the same as that of the ordinary reality we inhabit. What is called drama is only the embodiment in gesture and language of this logic, this worldliness. Why, you might ask, is the relation between these two logics a complex one? Kierkegaard said that a direct relation to the deity was the definition of paganism, and he meant by this that the attempt to grasp and seize divinity by the appropriation of a human definition was to create an idol, an unreal apparition that possessed no truth. If we take the world we know as an act of collective imagining, an idol of the modern mind, it becomes apparent that reality as such becomes subject to the same-or a similar-danger: decay of the perceptual process, enactment of an unreal idol reality. The banishment of the real world. In other terms, the thing itself is replaced by successive (repetitive) images of the thing. In American theater this idolatry bears the name of naturalism. Its origin is the same as that of the paganism Kierkegaard wrote of: the desire to subsume all human experience under labels, definitions, and explanations and therefore to substitute rationalizations for experience. The 17
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