The Avignon Festival will soon raise its curtain in the Provencal torpor. “I’m in words,” wrote the Palestinian poet Mahmoud Darwich dreaming of peace horizons. “This could be the motto of the festival, for almost eight meteoric decades,” editorializes its director, Tiago Rodrigues. This one gives pride of place to the Arabic language for the 79th edition of the French event dedicated to theatrical creation. Trained as an actor, the director Tiago Rodrigues is among the theater authors whose texts, often played, most of the time lead to a publication, with untimely solitary. In tribute to his journalist father, this will be the case with No Yogurt for the Deadaround the power of the story, to see at the comedy of Geneva in November.
In French -speaking Switzerland, creations reveal their assets on different sets, or not from a theater text, rarely published. There are few publishing houses, or theatrical collections, which anticipate or extend the ephemeral of the show. With this observation, Mail Dedicated six summer pages to dramatic scriptures since 2017, in partnership with the University of Lausanne.
This year, two of the selected texts were written in part within the framework of the residence of French -speaking drama in Valais, a salutary incubator: an Afrofuturist fiction inspired by the Orlando killing, and a rewriting of the myth of Medea, mother infanticide, of which we can read an extract in der of the newspaper. To complete the series, the mysterious idyll of a single mother will rub shoulders with a fable around the breasts, or even climate activism in the face of the melting of glaciers. But this Monday, make way for the mysteries of power with The worst policy by Adrien Barazzone, at the time of the tumble of statues, with our first unpublished summer.
Good reading.
