L'Étang
A multi-layered, below-the-surface family drama
Duration 1 hour and 30 minutes, no interval
World premiere 4 May, Lausanne
A child feels unloved by his mother. To test her, he pretends to be drowning in the pond. With her adaptation of Robert Walser’s Der Teich (‘The Pond’), director Gisèle Vienne explores complex family relationships and examines the ways family members interact with each other. Vienne plays with all the available theatrical means to make the spoken and the unsaid visible. She creates a mysterious tension between those present and absent. Vienne indirectly shows the deceptive contradictions between what is said and what takes place unsaid. Like her previous work, the piece delves into philosophical issues surrounding social norms. In doing so the director does not shy away from humanity’s dark sides.
YOUR VISIT TO ITA DURING HOLLAND FESTIVAL
Like ITA, the
Holland Festival adheres to the current corona measures, as drawn up by the
RIVM and the Dutch government. As long as the coronavirus is not yet under
control, testing can help to step by step make more possible. The national
government wants to use testing for access in order to facilitate social
activities in a safe way.
In concrete terms,
this means that in order to gain access to the performances taking place at ITA
during the Holland Festival, in addition to your admission ticket you must also
be able to present a negative test result in the form of a QR code in the CoronaCheck
app.
This works in the
following way:
- You make an appointment via 'Testen voor toegang' and get tested within 40 hours before the start of the performance.
- You will receive an e-mail with the result of your test.
- If you do not have Corona, you will receive the negative test result.
- You can then use the app CoronaCheck to turn your test result into a test certificate.
- This certificate takes the form of a QR code.
- You have this QR code scanned at the entrance of ITA.
Please note: only
test results that are scheduled via Testen
voor toegang are accepted for access.
On the Testen voor toegang website you
will find an extensive FAQ section.
Credits
based on the original story Der Teich by Robert Walser
concept, direction, scenography, dramaturgy Gisèle Vienne
performed by Adèle Haenel, Ruth Vega Fernandez
light Yves Godin
sound design Adrien Michel
music direction Stephen F. O'Malley
original music Stephen F. O’Malley, François J. Bonnet
tour assistant Sophie Demeyer
external overlook Dennis Cooper, Anja Rottgerkamp
French translation from the German translation by Händl Klaus and Raphael Urweider Lucie Taïeb
collaboration to the scenography Maroussia Vaes
conception of puppets Gisèle Vienne
creation of puppets Raphaël Rubbens, Dorothéa Vienne-Pollak, Gisèle Vienne in samenwerking met Théâtre National de Bretagne
stage set production Nanterre-Amandiers CDN
set and accessoires Gisèle Vienne, Camille Queval, Guillaume Dumont
costume Gisèle Vienne, Camille Queval
wig and make-up artist Mélanie Gerbeaux
technical manager Richard Pierre
sound engineer Adrien Michel, Mareike Trillhaas
light manager Iannis Japiot, Samuel Dosière
stage manager Antoine Hordé
performance created in collaboration with Kerstin Daley-Baradel
special thanks to Etienne Bideau-Rey, Nelson Canart, Patric Chiha, Zac Farley, Pauline Jakobiak, Jean-Paul Vienne, César Van Looy
production and distribution Alma Office: Anne-Lise Gobin, Alix Sarrade, Camille Queval, Andrea Kerr
administratie Etienne Hunsinger, Giovanna Rua
production DACM
coproduction Nanterre-Amandiers CDN; Théâtre National de Bretagne; Maillon, Théâtre de Strasbourg – Scène européenne; Holland Festival; Fonds Transfabrik – Fonds franco-allemand pour le spectacle vivant; Centre Culturel André Malraux, Scène nationale de Vandœuvre-lès-Nancy; Comédie de Genève; La Filature, Scène nationale de Mulhouse; Le Manège, scène nationale – Reims; MC2: Grenoble; Ruhrtriennale; TANDEM Scène nationale; Kaserne Basel; International Summer Festival Kampnagel Hamburg; Festival d’Automne à Paris; théâtre Garonne, scène européenne – Toulouse; CCN2–Centre chorégraphique national de Grenoble; BIT Teatergarasjen, Bergen; Black Box teater, Oslo
with the support of CN D Centre national de la danse, La Colline – théâtre national and Théâtre Vidy-Lausanne
thanks to Point Ephémère voor het beschikbaar stellen van hun repetitieruimte; Playroom, SMEM, Fribourg voor hun geluidsstudio
