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Tristesses (Anne-Cécile Vandalem)

Anne-Cécile Vandalem

Concept, text, direction: Anne-Cécile Vandalem
Music: Vincent Cahay, Pierre Kissling
Set: Ruimtevaarders
Sound: Jean-Pierre Urbano
Light design: Enrico Bagnoli
Costumes: Laurence Hermant
Video: Arié van Egmond, Fédérico D’Ambrosio
Cameraman: Fédérico d’Ambrosio / Lou Vernin
Technical director : Damien Arrii
Assistant director : Sarah Seignobosc
Props : Fabienne Müller
Make-up : Sophie Carlier
Dramaturge assistant : Sébastien Monfè
Hairdresser : Gaétan d'Agostino
Soprano, instrument, vocal coach ISFV : Françoise Vanhecke
Lighting technician : Kevin Sage
Sound technician : Antoine Bourgain
Video technician : Tonin Bruneton
Assistant producer : Marie Charrieau
Executive producer: Audrey Brooking

Vincent Cahay, Anne-Pascale Clairembourg, Epona Guillaume, Séléné Guillaume, Pierre Kissling, Vincent Lécuyer, Didier de Neck, Catherine Mestoussis, Jean-Benoit Ugeux, Anne-Cécile Vandalem, Françoise Vanhecke

Premiere: April 10th, 2016

Production: Das Fräulein (Kompanie)
Prospero coproduction : Théâtre National de Bretagne / Théâtre de Liège, Schaubühne am Lehniner Platz / Göteborgs Stadsteatern / Théâtre National de Croatie, World Theatre Festival Zagreb / Festival d’Athènes et d’Epidaure / Emilia Romagna Teatro Fondazione.
With the support : la Fédération Wallonie-Bruxelles / Service Théâtre, Wallonie-Bruxelles International
With the help : l’ESACT, l’Ecole Supérieure d’Acteurs / LA HALTE, Liège / Le Boson, Bruxelles vd

Tristesses A black comedy which met with great success at the Avignon festival (where its author, director and actress Anne-Cécile Vandalem was described by the press as the “discovery of the festival”). It also received acclaim this April at the F.I.N.D. Festival in Berlin’s Schaubühne. The island named Sadness in the north west of Denmark is usually a peaceful agricultural area, where the inhabitants made their living keeping cattle. Five years ago, however, the local slaughterhouse went bust, and now the island is down to its last eight inhabitants. No, sorry, seven – in the early, gloomy morning when the story starts, they find old Mrs Heiger hanging from a pole with the Danish flag in the middle of the village. Her daughter Martha, the leader of a far-right populist party founded by Martha’s father Kär, is heading for the island to deal with the situation. Martha intends to win the elections that await the country in just under a month’s time, and in which according to opinion polls she is practically assured of victory. She does not, therefore, intend to let any sort of scandal break out. In addition, she has something of her own, and she is not alone… Gradually a carousel of events gathers speed, leaving nothing the same either on the island or in the lives of those involved.

In Anne-Cécile Vandalem’s play the island of Smutek has only eight inhabitants, but it is a territory in which we all live, in today’s Europe.
Fabienne Darge, Le Monde

Anne-Cécile Vandalem carries us once more into a universe where black humor vies with the uncanny, where the supernatural seems banal, and where apparent realism never hides the fact that everything we are seeing is fabricated.
Jean Marie Wynants, Le Soir

In short: destroyed families, threatened society, triumphants schemers. An acerbic inventory of our world shot through with (at times) humorous irony and an (always) surprising beauty.
Christian Jade, RTBF.be

Anne-Cécile Vandalem (b. 1979) began as an actress, working with directors and theatre collectives such as Charlie Degotte, Dominique Roodthooft, and Transquinquennal. She has also appeared in films directed by, amongst others, Anne Leclercq, Frédéric Forestier, Xavier Serron, Frédéric Fonteyne, Dominique Standaert and Karine Devillers. In 2003, she decided to embark upon the writing and conceiving of theatre shows, and together with Jean-Benoît Ugeux (who portrays Soren in Sadness) created Zaï Zaï Zaï Zaï and Hansel and Gretel. In 2008 she created Das Fräulein (Kompanie) within which she will develop her work. From 2008 to 2013, habitation plays a major role. The artist sees it as the perfect place of confinement, by which and with which everything happens. Starting from an ultra- realistic universe, Anne-Cécile defines the framework of so-called domestic tragedies, within an individual frame with (Self) Service, a family one with HABIT(U)ATION and a collective one with After The Walls (UTOPIA). Looking for DYSTOPIA, hinge show currently being written, opens a new cycle of work for the artist, including Still too sad to tell you, TRISTESSES and WHAT CAN I DO FOR YOU?

Das Fräulein (Kompanie) is a theatre company founded in 2008 as a platform for the work of Anne-Cécile Vandalem. It is currently funded by the Wallonia-Brussels Federation.


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