Festival d’Automne, 15. September – 24. December, 2011
The Paris Autumn Festival - an artistic vitality-filled forum for arts which actually lasts well into winter - spans a diversity of genres and includes countless theatre performances, recitals, dance events, film screenings and art shows, for several months taking over almost the whole of the French capital. The programme of the avant-garde-orientated Festival d´Automne is based on new works by artists from all over the world, previously never performed/exhibited in France. From its first year, the festival has aimed to bring to the spotlight new artists and support new experiments. However, the programme always also features a selection of masterpieces by renowned luminaries - great masters of their respective genres, classical avant-garde artists.
Festival d´Automne opens with the theatre of the octogenarian French grand master, the explorer of dreams and mysterious territories Claude Régy, for the second year running places the spotlight on his Brume de Dieu, a very special theatre work by the great director.
The French director Claude Régy - a maximalist working with radically minimalist means of expression - is the creator of a unique artistic world in the landscape of the French theatre. Darkness, silence, slowdown - this is what constitutes his magic kingdom.
Claude Régy never permits things he considers outdated, no matter how omnipresent on the French stage - naturalism, declamation, psychological realism, pathos, sentimentality and groundless hyperactivity - enter his works. He is not interested in an actor who exists on the stage without a regard for anything else - be it lights, space or people. In Régy's works, man responds to the slightest vibrations and subtlest changes in the milieu: they resound within him and become perceptible for the viewer on the scale of the fluctuations of the Universe. A special role is played by the score of actors' voices and intonations, opening the text to new senses and meanings. Régy's Brume de Dieu reveals the world as perceived through other forms of existence - free of the rationality of the Western civilisation, brimming with light, defined by the changeable border between life and death, speaking and silence, wisdom and insanity.
Festival d´Automne also provides an excellent opportunity to encounter the friend of all the forgotten people, the brilliant Swiss director Christoph Marthaler who, accompanied by his creative team, went on a field trip to Greenland this spring, where he traversed giant glaciers and discovered long-forgotten songs and long-forgotten people; these discoveries constitute the underground stream of warmth explored in his new piece titled 0+-.
Since the 1970s, Paris has been having a love affair with the American artist Robert Wilson who stole the hearts of the French intellectuals and artists forever with his 1971 Deafman Glance. The piece influenced the French writer Louis Aragon to such an extent that he sat down to write an 'open letter' to the late poet and writer, surrealist theoretician André Breton - to tell him of Deafman Glance, to speak of art, science and freedom. And so Robert Wilson has an open invitation to visit Festival d´Automne whenever he has a new piece to show. This year he is bringing to Paris a Berliner Ensemble production based on Frank Wedekind's Lulu. The drama is an attempt to connect to a territory that is life-threatening to any man. Wilson's Lulu is the great Angela Winkler who is sometimes called an actress of exception: her stage existence defies the pigeonholing practised by theatre reviewers. The musical world of Wilson's latest piece was written by Lou Reed.
The programme of Festival d´Automne also features a large retrospective of the great Hungarian filmmaker Béla Tarr, a director given to lengthy and deep contemplation of the world. If any of his films is ever screened at a 'normal' repertory-orientated picture house, it is only running for a short time: there is no place in the mentality of a mundane cinema for a luxury like 'a long time'. The Paris Pompidou Centre has always been a place where time can take as long as it pleases: an ideal venue for Béla Tarr's three-, five- and seven-hour worlds.
Programme: www.festival-automne.com
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