La Réunification des deux Corées is the third production of the European project Villes en scène/Cities on stage.
Associate Artist with the Odéon-Théâtre de l'Europe until June 2013, Joël Pommerat will have fully plaid with the possibilities of modulation offered by Berthier. There was the circular arena of Ma chambre froide that concentrated our attention on Estelle's world (so limited and so vast at the same time, closed from all sides and gradually opening from the inside). There was the Italian box of Cendrillon, a sumptuous sarcophagus, now cruelly transparent, now heavy like a crypt that would yet serve as a shelter. Here is now this "valley" about which Pommerat wrote in a recent text, an acting area spread all in length, pressed between our two hedges of looks. The arena or the box suggested, by their relative enclosure, that something of the dramatic action came there to be caught in order to be observed at leisure, like in a cage or an experimental device. By contrast, the bi-frontal stage (while giving a particular relief to the pressure imprinted on the stage by the mass of the audience - a pressure that it makes perceptible by holding to this audience - like a mirror - its own half facing it) lets to both its ends the acting area and the tiers end, in an equally abrupt way, on dark exits that seem to call for an escape movement. Where Schnitzler imagined a round dance to follow Eros' wild and rebounding race through the society of his time, Pommerat set a narrow pass : between both our Koreas of spectators, a no man's land where nobody may live, a constrained space, an obligatory step where the bodies, during an instant, enter one after the other like the grains in an hour-glass, before continuing off their mysterious or trite path. What is there marching through this gully? La Réunification des deux Corées is made of some twenty dramatic moments with dimensions as diverse as their climates : a "mosaic" of "news" (the terms are the author's) whose structure Pommerat tested at length on stage with his actors and his team. It falls from now on to each spectator to contribute actively (like in other productions of the Compagnie Louis Brouillard we think of when seeing this show: Cercles/Fictions, for instance) to building another type of coherence based on echoes, affinities of form or content, of inflexions and variations around the theme of love - whatever the meaning we give to this fundamental experience we all share, should it be only by feeling its absence. At the dawn of the 21st century, Pommerat made some sort of inventory of fixtures out of some of his figures, putting some markers at the edge of a common territory, to offer us to recognize, again and again, its strangeness.
Co-Production : National Theater/Brussels, Folkteatern Göteborg, Teatro Stabile di Napoli, Théâtre français du Centre national des Arts du Canada/ Ottawa, Centre National de Création et de Diffusion Culturelles de Châteauvallon, la Filature Scène Nationale/Mulhouse, les Théâtres de la Ville de Luxembourg, le Parapluie (Centre des arts de Rue/Aurillac) in collaboration with the Teatrul National Radu Stanca/Sibiu.
During its production and tour, this performance was accompanied by the citizens’ workshop Moving cities Paris