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WAKANA REUNION 2019
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Art installations & performances

Teatro

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The story

Two vagabonds are waiting in the middle of nowhere for someone who is supposed to come and find them. But soon, the first questions arise: is it the right place and the right time? Has Godot already come? Since when are they waiting? And especially, what should they doin the meantime?

Actors' note of intent

We do not go towards the await, nor does it come to us. Waiting in contemplation time is extremely threatened in our current society, it is considered as a danger, we even try to avoid it, by “killing the time". Due to too much entertainment, the modern man no longer possesses one of his essential abilities, to waste time. Deprived of speech and "lock out outside" it is through the body and sounds that these characters, who no longer think clear but hope much, will wait sometimes calmly, sometimes submerged with impatience and childish madness, the imminence, the end of the await.

What do we do now?

Above the void everything is possible, creativity, hope, joy but also despair and sadness. What to do when boredom seizes you?

"Waiting for Godot" is the story of the modern man. These small gaps of time should be regarded as half empty or half full, between comic and tragic, entertainment and boredom, small flights of life and hangovers, unexpected encounters and the return to normal.

Staging note

How to stage the await?

At the beginning there is a space, and as occupants a tree and two vagabonds and around them, nothing. There is no place, no time, no particular indication of the characters, there is not even a storyline, the action is repeated without an end.

The scene is not cut off from the public, the latter is free to wander around the structure that encloses the characters, so they can see them evolve as in an aquarium. The time is the same for the actors as for the audience and the await is the same for both parties, with the feeling that time does not pass. Nuance the boundaries between actors and spectators, making boredom and entertainment coexist. This piece is halfway between theatre and clown. Beckett's existential questioning encounters the absurdity of the human condition. Here is the challenge of this piece, to put the nothing in action.

THE GROUP

Manon
Manon Legrand has been trained in various private schools such as the Acting International and Peyran-Lacroix courses. In addition to her professional studies, she completed internships at the Ruby complex theatre in Los Angeles and at the hostellerie de Pontempeyrat directed by Alexandre Del Perugia. She later performed in two plays at the Opéra nursery theatre - "We missed the end of the world" by Hervé Bernard Men and "The powder" by Mylène Lormier. She has also participated in various short films, commercials, documentary and dubbing.

Emma
Emma Julian, 22 years old, after obtaining a degree ES in Lyon she moved to Paris to follow her professional training at the Cours Florent. In the first year and in parallel with the program of this school she have assembled a troupe with class friends,

"The great tirade" with which she has performed for a year in Paris.

During this training she was also able to take part in the graduation piece, open to the public and closing her years of study. Finally she had the chance to play at the Center Wallonie Bruxelle in Paris in a creation directed by Felicien Juttner.

Alan
Alan Barcelon is a young French writer who has lived a large part of his life in Spain. He worked as an assistant director on a French feature film and Spanish films. After studying theatre in Paris and projects where he worked with directors such as Benoit Guibert and Michele Harfaut, and staging works like "Faust", "Festen" or "Le roi s'amuse", this year he publishes his first collection of poems.

Pierre
Pierre Séveno followed a theatrical training at the Cours Florent in Paris as well as The One Man Show at the theatre cafe in Nantes. He had the opportunity to work with directors such as Félicien Juttner and Michèle Harfaut. In 2017 he staged the play "Caligula" in Paris, a play around the cycle of the absurd. He has been experimenting with various musical and body projects ever since, and has appeared in several short films and commercials.

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