GWÉNAËL MORIN / 2006
Photo Marc Domage
Gwénaël Morin was born in 1969. He gave up studying architecture after 4 years to go into theatre. Among other experiences in this area, he has directed the following pieces (in chronological order since 1988) : Merci pitié pardon chance (montage of texts by S. Beckett) ; Débite allez vas-y (adaptation of Fin août by A. Adamov) ; Pareil pas pareil (cross-edit of love dialogues from films by J.L. Godard and remarks on painting by G. Richter) ; Stéréo (diptych with action without words 1 and words and music by S. Beckett) ; Théâtre normal (series of diverse sketches) ; Mademoiselle Julie (A. Strindberg)(by order) ; Poésieland (karaoke poetry) ; Comédie sans titre ( F.G. Lorca) ; Viaje a la luna (F.G. Lorca) ; Aneantis movie / Blasted film (after S. Kane) ; Guillaume Tell (theatre play integrated into the artwork Swiss-Swiss Democracy by T. Hirschhorn) ; Les Justes (A. Camus). Morin works in Kehl Am Rhein (Germany).
Philoctète d’après Philoctète de Sophocle
théâtre
December 2006 at 8:30 pm
“By doing Philoctetes after Philoctetes by Sophocles I wish to show that words can be stones or projectiles to be carried around and launched against the Other in order to violently attack and transform him. I want to show that words can become arms and I wish to stage a scene which creates a war of stones between the protagonists Philoctetes, Neoptolemes and Ulysees. I want to turn Philoctetes after Philoctetes by Sophocles into a war play, in other words a play which treats the definitive collapse of the relation to the Other. Dialogue is the form of speech established through a frontal, face-to-face, man-to-man, one-to-one relationship. The inexorable and generalised failure of this elementary “one-to-one” relationship leads to war. War is the consequence (hypertrophied by violence and destruction) of the impossibility of dialogue. In other words, the impossibility of man confronting man without resorting to murder. Speaking saves us from killing each other. Philoctetes after Philoctetes by Sophocles is a tragedy of dialogue. The protagonists, Philoctetes, Neoptolemes and Ulysees, are torn apart by the two injunctions : “speak to him” and “kill him”. By doing Philoctetes after Philoctetes by Sophocles I also wish to show that words are organic extensions of the human body, offshoots which form physical links reaching out to the Other. I want to show how the body which speaks takes on the form of the word it pronounces, how the body which speaks is progressively transformed by all that it says. And how the body and all human bodies are modified and transformed by all human speech. With Philoctetes after Philoctetes by Sophocles I want to create a theatre of speech incarnate, a theatre of flesh and bone. The play is titled Philoctetes after Philoctetes by Sophocles because I wanted to clearly show in the title Philoctetes after Philoctetes by Sophocles my intention not to do the Sophocles play Philoctetes. I am not interested in reaffirming the lasting nature of masterpieces. I defend a theatre which is not dedicated to texts but rather to the service of people, especially living ones. I am alive and I want to use Philoctetes by Sophocles to continue to understand and to invent who I am, in the present, in a world already created.”
Gwénaël Morin
Staged by Gwénaël Morin. Featuring : Marie Guittier (Philoctetes), Guillaume Bailliart (Neoptolemes), Vincent Schmitt (Ulysses), Barbara Jüng and Fanny de Chaillé (the chorus)
Coproduction : Théâtre du Point du Jour/Lyon, Théâtre Jean Vilar, scène Rhône-Alpes/Bourgoin-Jallieu, Les Laboratoires d’Aubervilliers. With the support of the Ministère de la Culture/DRAC Rhône-Alpes, the Région Rhône-Alpes and the city of Lyon.
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