CARMEN

We know Carmen for her hits that seem to celebrate love. However, in this opera, love plays shoulder to shoulder with death. Carmen could be summed up by this sentence: “She leaves him, he kills her”. The sentence is shocking, yet it is a reflection of a daily reality. In the same way that the feminist movement of gluers seized on these slogans to put them back at the heart of the public space, Carmen composes an exciting political landscape.

In Carmen, there is no bourgeois setting. Carmen takes place outside: the square, the tavern, the mountain, the bullfight. The challenge of this staging will be to take the spectators on foot from one space to another, like so many places of performances that ignore each other. In this story that echoes the violence of our society, the public space appears as the only place where the debate must take place, like the ancient theater.

A piano, a cello, a clarinet, a trombone, a trumpet, ukuleles, percussion and voices, the instrumentarium promises a twirling musical adaptation that will also highlight the drama. A troupe of ten actors, singers and instrumentalists take up the game of telling this story in landscapes where the spectator's gaze is framed, brought to rest where the ambiguities and complexities of our living together arise. . With humor and benevolence, the adaptation of this opera by the Maurice company and the others will be joyful, collective and political.

A co-production of the Théâtre de Saint-Quentin-en-Yvelines, Scène Nationale and the Festival Paris l’été