Sweet Home, without a fit of conscience
Théâtre de La Licorne · FR
17, 18 Oct · 7pm
Mosteiro São Bento da Vitória
40' · M16
Subtitled sessions PT/EN
© Christophe Loiseau
© Christophe Loiseau
© Christophe Loiseau
© Christophe Loiseau
Text de Arthur Lefebvre
Direction and set design Claire Dancoisne
With Rita Tchenko
Set direction Brice Nouguès
Music Maxence Vandevelde
Prop design Maarten Janssens, Olivier Sion
Back drop creation Detlef Runge
Set construction Alex Herman
Costume design Anne Bothuon
Production Théâtre La Licorne
Co-production Le Tangram - Scène nationale Évreux Louviers
With the support Conseil départemental du Pas-de-Calais
Special Acknowledgment Le Bateau Feu - Scène nationale de Dunkerque, Le Channel – Scène nationale de Calais, La Maison Folie de Moulins - Lille
For their return to Porto, Théâtre de La Licorne is staging two plays created to be performed in an intimate atmosphere. In this kind of pocket theatre, the simplicity of the means, the plasticity of the set (one of La Licorne telling traits), the dark-humour and the hole hearted performances grip us from beginning to end, just like an exceptionally good pocket book thriller would do.
It always seemed necessary to me to create shows that could be played in places and not solely in theaters. It displays a different pleasure, leads to other meetings, while still sticking to the same artistic energy that I defend at La Licorne, namely to impact the largest number of people with demanding creations. These technically light forms, thought to be easily itinerant, offer the possibility to create a genuine intimacy with the audience, in a physical proximity installed between them and the actors. With this spirit of light forms, I created shows such as Macbêtes - a show for apartments, Chère Famille - a show for incongruous places - La griffe des escargots - a show for bars; Fantastik péplum - for small places.
Sweet Home is an original creation based on a textual order to Arthur Lefebvre, partner in crime and author associated once again to this new adventure. What follows is a score for two hands, since the words achieve their composition with the visual writing, where the story revolves around the object…
See you soon!
Sweet Home: without a fit of conscience
Suzanne has no age and is isolated in the shadow of an average building, since forever. She was the first inhabitant of the building. Then others came. Too dumb, too dirty, too noisy, too many, too everything. So today, the building should be hers. Her building and hersonly, just like on the first day, it's decided. From this absurd dream,she will shift onto a dream of grandiosity and solitude. She will makeof her building a citadel, an unconquested castle. Impugnantly, shecommences the reconquest of her 'kingdom'. To make a clean location,to methodically cast out these illegitmate occupiers, eradicate withouta single scrupule the presence of these usurping neighbours. In herkitchen, her mind is boiling with machiavellic intentions. She imaginesstrategies, back stabbings and pictures gloomy perspectives to provokea massive exodus. In her reconquest, nothing will be left to chance. Herplans will be coldly put to execution to serve her ascension towards the superior floors. Up to the very top, to enjoy the sight, look up to the skyand feel the sun…
Despite the doubts, the obstacles and the setbacks, each and everyonewill have to pack and flee away. She will be left alone and finally incharge of the place. Yes, but… for how long?
Following a sculptor diploma from the Beaux-arts in Lille, and a few detours, Claire Dancoisne engages in theater, a passion in which plastic arts are paramount. As an actress, she founds the Théâtre de La Licorne, for the mask and the object very quickly become obvious choices for the unique and original writing of the company. From there, she bears forty creations for which she directs and coaches. Her shows will be litterary adaptions from novels (G.G Marquez, Orwell, Flaubert, Voltaire, Carole Martinez…), tales (Misère..), classical theater (Shakespeare, Aristophane…) as well as personal creative writings (Sous-Sols, Le Bestiaire Forain, Chère Famille, Spartacus…). Collaborations with dramatic authors will enamel this imaged theatrical path (Arthur Lefebvre, François Chaffin, Matteï Visniec).
It has now been almost 30 years that she defends through La Licorne a demanding theater, that is able to speak to all, a plastic and offbeat theater, bearing sense and pleasure.
Claire Dancoisne was appointed Knight of the National Order of the Legion of Honour in July 2009.
She worked as an actress with directors such as Andrzej Seweryn (Comédie Française), Jérôme Savary, Wladyslaw Znorko, Régis Hébette, Mustapha Aouar, Julia Pascal, Mohamed Guellati… She also worked with the Théâtre de l'Unité et most especially with the Illustre Famille Burattini where she was co-director, actress, author, and truck driver…
Théâtre de La Licorne
The creation of the company is set in 1986 when I was joined by other sculptors, musicians, and actors who were inclined towards performance rather than textual theater. A small team of raging, crazy individuals, who would, day and night, seek to invent a theatrical form mixed with machines, shadow projections (nights spent with very limited budget to project through the vapor that was let out by the cap of the pressure cooker onto the garage's white wall that was in front of our window, to project through flour that we would let fall down from a tall ladder), to invent characters that could explicitly get fatter in a show (with tubes of tractors on the body and displacements with attached compressor)... We worked hard, in hangars, without any money, and the innumerable back and forths at night to the waste collections were weekly.
Nostalgia still invades me when I think about the creation of these first shows of La Licorne. There were instilled with incredible invention, impertinence, physical risks and an incorporated passion each time. The way we lived and directly experienced theater was not adequate to the traditional theater played in National scenes We wanted to be inventors, and we wanted to be everywhere. And we were everywhere. Since, we gained structure, chose and affirmed our affiliations and functions. I chose directing in order to accomplish and realize my artistic universe, develop it and inscribe it in contemporary creation.
With Patrick Smith, graphist, plastician and mecanician, we shifted towards the theatrical spirit that still embodies today La Licorne : a research where mask and object are at the heart of our creations.