Wajdi Mouawad / La Colline - théâtre national
Text and direction: | Wajdi Mouawad |
Starring: | Jalal Altawil (Wazzan), Jérémie Galiana (Eitan), Victor de Oliveira (servant, rabbi, doctor…), Leora Rivlin (Leah), Judith Rosmair (Norah), Darya Sheizaf (Eden, the nurse), Rafael Tabor (Etgar), Raphael Weinstock (David) and Souheila Yacoub (Wahida) |
Assistant director: | Valérie Nègre |
Writing: | Charlotte Farcet |
Artistic advisor: | François Ismert |
Historical advisor: | Natalie Zemon Davis |
Original music: | Eleni Karaindrou |
Stage design: | Emmanuel Clolus |
Lighting design: | Éric Champoux |
Sound design: | Michel Maurer |
Costume design: | Emmanuelle Thomas |
Hair and make-up: | Cécile Kretschmar |
Hebrew translation: | Eli Bijaoui |
English translation: | Linda Gaboriau |
German translation: | Uli Menke |
Arab translation: | Jalal Altawil |
Costume assistant: | Isabelle Flosi |
Writing assistant: | Audrey Mikondo |
Preparation and operation of surtitles: | Uli Menke |
Managers: | Stefan McKenzie Main and Frédéric Gourdin |
Stage manager: | Christian Ménauge |
Sound operator: | Sylvère Caton |
Video operators: | Igor Minosa and Ludovic Rivalan |
Light operator: | Gilles Thomain |
Lightning technician: | Olivier Mage |
Carpenters: | Yann Leguern, Harry Toi and Franck Bozzolo |
Accessories: | Isabelle Imbert |
Set building: | atelier de La Colline – théâtre national |
Original music recorded in: | Sierra Recordings (Atenas) |
The text of Tous des oiseaux has been published by: | Actes Sud-Papiers / Leméac |
Production: | La Colline - théâtre national |
With the support of: | the cultural services of the Israeli Embassy in France and Teatro Cameri in Tel Aviv |
Acknowledgements: | to the library team of the National Institute of Art History - Labrouste Hall, Richelieu Centre of the Bibliothèque Nationale de France |
“Great script, great philosophical dialogue, great poem, Mouawad's text gives rise to an incredible show, admirably defended by actors of different nationalities. (...) There are few shows that speak of the current world and, in particular, of the fire that burns from the Middle East, with so much love for the human being, so much art to unravel the hatred and so much sense of beauty”.Politis
Wadji Mouawad revolutionised international theatre with his renowned Incendies (Scorched), a savage drama that premiered in 2003 and
made him the king of tragedy or, as the critics put it, the modern-day heir
to Sophocles and Shakespeare. With Tous des oiseaux (Birds of a Kind), the artist once again
demonstrates why he is widely regarded as one of the greatest playwrights
of our times. Impossible loves, diverse scenarios and characters steeped in
history... All the force of Mouawad's overwhelmingly epic plays is once
again on full display in this blazing creation that celebrates its Spanish
premiere at the Teatros del Canal as part of the 38th Autumn Festival.
Birds of a Kind
explores the impossible destiny of two lovers, an Arab woman and an Israeli
man, trapped in the madness of a war without end. The playwright stages an
incredibly powerful depiction of a tragedy that is unleashed in the heart
of the Israeli-Palestinian conflict. Secrets echo, truth explodes and
intimacy is torn to shreds in the maelstrom of events worldwide that assail
us.
Do our pasts and our origins define our identity? From New York to
Jerusalem through Berlin, from love at first sight to a terrorist attack,
from screams to laughter, Mouawad has woven an extraordinary tale that is
submerged in the inextricable chaos of the Middle East. With its blend of
languages, performed by an international cast of high quality and great
talent, Birds of a Kind sheds light on the inconsolable pain of
that which cannot be expressed, the impossibility of our desires, or of
reconciliation between sworn enemies.
Mouawad's writing places questions of geography and language at the heart
of the play. Geography because the plot unrolls mainly in Israel, a land of
anguish that bears on its shoulders the history of the Middle East and
Europe. Language, because the play respects the languages of reality in
fiction. German, English, Arabic and Hebrew resound on stage, these
languages that interact with each other in Israel. The author’s intention
is that these languages should be heard together on stage, to reveal the
borders laid down by incomprehension, anger and the unacceptable.
Birds of a Kind
is based on a Persian legend about an amphibian bird: a bird that dreamt of
swimming with fishes and grew gills in order to do so. The director uses
this metaphor to approach the delicate issue of the Israeli-Palestinian
conflict. The protagonists, two students in love, a German Jew and an
American Arab, are collateral victims of a tragedy that extends beyond
their human existence. The play begins with a scene in a New York library
and later shifts to the heart of the conflict in Jerusalem. Generations are
torn apart and the painful past confronts the reality of the present. Birds of a Kind is a story where the violence of the outer world
intrudes upon the intimacy of domestic life. And there is no one reality
that can dominate over another.