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théâtre/theater/theatre (Bruxelles/Brussel – Paris) Marcel Proust Eric De Kuyper Les intermittences du cœur Eric de Kuyper, Les Intermittences du coeur Eric de Kuyper (director), the KunstenFESTIVALdesArts, Polymnia and le Théâtre de la Ville de Paris (producers) have decided to postpone the performances of Les Intermittences du coeur to a later date (to be confirmed). Spectators who have already bought tickets for these performances will be refunded. Please contact the KunstenFESTIVALdesArts (02/226 45 88) Théâtre Varia 4.5.8.9/05 > 20:30 10/05 > 19:00 75’ Fr > Sous-titres/Ondertiteling/Subtitles : Nl € 12,5 – 8,5 D’après/Naar/After La Prisonnière (Marcel Proust) & La Captive (Chantal Akerman) Texte/Tekst/Text: Chantal Akerman & Eric De Kuyper Mise en scène & conception visuelle/Regie & visueel concept/Direction & visual concept: Eric De Kuyper Avec/Met/With: Louis-Do de Lencquesaing & Lucie Valon & Adrian Johnston Scénographie & lumières/Toneelbeeld & licht/Stage design & Lighting: Agathe Argod Graphisme/Grafiek/Graphics: Eric vande Pitte Musique/Muziek/Music: Adrian Johnston Costumes/Kostuums/Costumes : Maïka Guezel Direction de production/Productieleiding/Production manager: Catherine Serdimet Production/Productie/Production: polimniA (Paris), KunstenFESTIVALdesArts Coproduction/Coproductie/Co-production: le Théâtre de la Ville à Paris & la Maison de la Culture d’Amiens Avec la participation artistique de/Met de artistieke deelname van/With the artistic participation of: Jeune Théâtre National Présentation/Presentatie/Presentation: KunstenFESTIVALdesArts Création/Creatie/Creation Rendez-vous avec les artistes après la représentation du 5/05. Ontmoeting met de artiesten na de voorstelling op 5/05. Meet the artists after the performance on 5/05. Salon Proust, 10.11/05 Marcel va au Cinéma, 9.10/05 Eric gaat naar Sarma, 18/05 42
Is it necessary to adapt A la recherche du temps perdu [Remembrance of Things Past] for cinema or theatre? No, but who would stop it when the adaptation contains both fascination and love for Marcel Proust’s work? No-one would stop Stravinsky from re-working Pergolesi or Ravel from paying homage to Couperin. Besides couldn’t it be said that any theatrical production of a text – whether classical or not – is in some respects a specific reading, a homage to this text? Initially A la recherche du temps perdu was going to be called Les intermittences du cœur... (The Intermittences of the Heart). The title has remained – or better, has been reused – for this production, the genesis of which is convoluted. In the beginning there was a film by La Captive (2000), a free adaptation of one piece of just one volume of La Recherche, La Prisonnière (The Captive), and more precisely what lies at the heart of the novel, the relationship between the narrator and Albertine. Out of the screenplay Chantal Akerman and I wrote, a theatrical text was distilled. If the film was just a small fragment of this marathon novel, in turn the theatrical text uses just one scene from the film. As if the initial subject matter – baroque, dense and as complex as you like – obliged us to reduce it at every stage, to make it more and more minimal. The theatre text finds itself confronted by… the film. Text on text, from story to story, the cloth of the fiction is woven. Crudely it’s called recycling, but a more skilful name could render this activity with some nobility. So it’s a matter of work imposed by deciphering the palimpsest. Traces of these passages, of these translations from one kind to another, from the novel to film, from film to theatre, will remain visible in the production. Just as they form the very cloth of the action. As if from one couple to the other, the one embodied by Stanislas Méhrar and Sylvie Testud in Akerman’s film, then the one performed on stage by Louis-Do de Lencquesaing and Lucie Valon, the story – from parting to reconciliation, from reconciliation to parting again – was mirroring and repeating itself. A little like in Schnitzler’s La Ronde and Max Ophüls’s version. In the encounter between the cinematic image and stage action, I’m not looking for a synaesthetic or syncretic effect. It’s more about confrontation, at times a dialogue or a contrast. The only possible or desirable link between the two: music perhaps? Eric de Kuyper Eric De Kuyper Novelist (Aan Zee, De hoed van tante Jeannot amongst others), artist, essayist and film-maker, Eric De Kuyper (Brussels 1942) worked at the BRT, taught film theory at the University of Nijmegen and was assistant director at the Nederlands Filmmuseum (Netherlands Film Museum). Mad about cinema and theatre, he has written countless articles and essays. He has also made a few films (Casta Diva, Naughty Boys, A strange love affair and Pink Ulysses). In 1988, he made his debut with the first part of his extremely orchestrated autobiography. Because of this work, the press sometimes calls him the “Flemish Proust”. And with good reason, all the more so since he wrote the screenplay for the film version of Proust’s La Captive with Chantal Akerman. This season he also worked with Guy Cassiers on adapting A la recherche du temps perdu for the rotheater. Chantal Akerman The film-maker was born in Brussels and now lives in Paris. She is world famous for her deconstructive style, her black humour and her keen view of identity, sexuality and politics. Her first film, Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975), was heralded by the New York Times as “the first female masterpiece in the history of cinema”. While Chantal Akerman has made several full-length and short films, she has also made documentaries and videos. Some of her most famous films are Saute ma ville; News from Home; Les Rendez-vous d 'Anna; Je, tu, il, elle; Window Shopping; Toute une nuit; Les Années 80; Nuit et jour; D'Est; Portrait d'une jeune fille de la fin des années 60 à Bruxelles; Un Divan à New York; and most recently Sud and La Captive. Her video productions, recently shown at the Venice Biennale 2001 and at the Documenta in Kassel in 2002, like her documentaries carry the mark of an intensely personal vision, a remarkable example of which can be found in her work Selfportrait / Autobiography: Work in Progress. 43
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