Claude Régy

Cinema Galeries
  • 17/05 | 19:00

FR

Admission free

On the occasion of Claude Régy’s latest show, we invite him to talk to young theatre-makers from Brussels. The evening will start with a discussion between Claude Régy and the artist Léa Drouet, and he will then meet and talk to young artists from the INSAS and RITCS theatre schools. The discussion will be followed by the screening of Alexandre Barry’s Du régal pour les vautours, which takes us to the heart of Régy’s work. The artist will also offer insights into his time in Paris, Japan, Korea and Norway – a (theatrical) journey that started more than 60 years ago.

  • 19:00 Discussion between Claude Régy, Léa Drouet & theatre students from INSAS and RITCS
  • 20:30 Screening Du régal pour les vautours, Alexandre Barry (67 min, FR > EN)

Participants
Claude Régy, Léa Drouet, Emma De Poot, Yanu Schepens, Gilles Van Hecke, Jean Coërs, Anne Declercq, Atta Nasser, Augusto Pedraza, Oxana Sankova, Ali Can Unal, Ruben De Roo, Medea Anselin, Marie Burki, Inès Isimbi, Bogdan Kikena, Laure Lapel, Lucie Lefauconnier, Olmo Missaglia, Santiago Ureel Heine, Pauline Wettler & Flore Herman

In collaboration with
Les Ateliers Contemporains, INSAS, RITCS, Cinéma Galeries

Thanks to
Claude Régy, Léa Drouet, Betrand Krill, Fréderic Cornet, Manon Ledune, Michel Boermans, Ruben De Roo & Katrien Van Langenhove

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Claude Régy in Conversation with Young Theatre-Makers

“Light and silence are also materials you don’t grow weary of. At least I don’t grow weary of them. I don’t grow weary of listening to silence and I don’t grow weary of the effects of light. I think that working sometimes means doing nothing. Sometimes it’s looking at daylight or looking at the light when it’s fading or at daybreak or in contrast during a very calm moment in the morning or afternoon. Letting ourselves be carried along by all these things that are imprinted on us. We think we’re not working but “that” is working all the time, it’s working in us. The elements interfere and intervene and there is a whole host of things that demand to live, that demand to be created. I like letting my mind float in this indeterminate mass of the uncreated.”
Claude Régy, Du régal pour les vautours, Les Solitaires Intempestifs (2016)

Claude Régy has watched and listened to the stage like no one else. A discoverer of contemporary writing, a “master who doesn’t like to think he is one”, he has worked to take theatre towards the inexpressible territories that go beyond the spheres of the intelligible and the obvious. Positioned on the threshold of words and silence, of light and darkness, for him the writer, actor and spectator are the same living body, working together to rewrite the poetic text. The theatrical session, which often with Régy unfurls in conditions that require extreme attention, becomes a possible moment of contact with the infinity of the imagination and the unintelligible.

Claude Régy has agreed to talk to young directors from Brussels about his ongoing and radical exploration that has lasted more than 60 years. Together with artist Léa Drouet, a group of students from INSAS and RITCS question echoes between Claude Régy’s work and their own preoccupations. Some of them, especially students from the francophone community, are familiar with Claude’s work. Others will encounter it for the first time in Rêve et Folie, which is being performed at the Kunstenfestivaldesarts until 25 May at KVS. Based on their own experiences as spectators, readers and young creators, they ask questions about Claude’s approach. How should you compose with the elements of the stage? What should you show on stage, what should you hide? How can you construct a framework that is likely to offer a range of different kinds of experiences with the spectator? How should radicality be devised and maintained in our work? How do you learn to open oneself up to what you don’t understand, “to work on what doesn’t yet exist”? A landscape of questions to help enter the universe of Claude Régy and compose in a conversational way with the essential elements of the stage.

More than simply paying homage or artists coming together around a shared heritage, the aim of this event is to create a dialogue between Claude Régy and a new generation of directors. Getting down to work before this “infinite mass of the uncreated”, perhaps in Claude Régy’s experience and eye they will be able to find valuable potential approaches for their future creations.

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Claude Régy was born in 1923. Reading Dostoyevsky as a teenager “had the same effect on him as an axe blow shattering the frozen sea”. After studying political science, he explored drama under Charles Dullin and then Tania Balachova. In 1952, his first production was the premiere in France of Doña Rosita by Federico García Lorca. He soon moved away from psychological realism and naturalism, renouncing the simplification of so-called “political” theatre in particular. At the opposite extreme of entertainment, he chose to venture towards other performance spaces and life spaces: in other words, lost spaces. Contemporary dramatic writing – works that he has usually been the first to discover – have guided him towards extreme experiences where all the certainties about the nature of real life fall apart. Claude Régy has premiered plays in France by Harold Pinter, Marguerite Duras, Nathalie Sarraute, Edouard Bond, Peter Handke, Botho Strauss, Maurice Maeterlinck, Gregory Motton, David Harrower, Jon Fosse and Sarah Kane. He has directed Philippe Noiret, Michel Piccoli, Delphine Seyrig, Michel Bouquet, Jean Rochefort, Madeleine Renaud, Pierre Dux, Maria Casarès, Alain Cuny, Pierre Brasseur, Michael Lonsdale, Jeanne Moreau, Gérard Depardieu, Bulle Ogier, Emmanuelle Riva, Christine Boisson, Valérie Dréville, Isabelle Huppert and Jean-Quentin Châtelain.

Léa Drouet (b. 1982) is a director and performer who has been based in Brussels since 2010. Her work is a combination of installation, theatre and performance. In 2014, she set up VAISSEAU, a production unit that attempts to adapt to the different propositions and formats with which she is experimenting. Questions arise in the course of her creations. What is a group? How do you share aesthetic experiences that convey their relationship and their different organisations? How can you tilt the balance of these issues in the regime of the sensitive, of sound, of the physical and of the material? Working around forms of spatialised chorality, she has created 0& (Festival XS, Theatre National, 2012), Derailment (Kunstenfestivaldesarts 2015) and Tape ensemble (Indiscipline, 2016), a collaboration with Clément Vercelletto involving a concert of cassette recorders and 20 performers. She then presented Mais dans les lieux du peril croît aussi ce qui sauve (Kunstenfestivaldesarts 2016) at the Les Brigittines skatepark. Based on interviews with three young skaters and their relationship with risk and accident as its starting point, this installation established a ring of fire in which the skaters executed perilous moves in public. At the invitation of Camille Louis (kom.post collective), Léa Drouet is participating in the installation performance Gribouillage, which offers a verbal and sculptural conversation in the public space (Nuit de l’Esthetique in Athens, May 2017). For the Kunstenfestivaldesarts in 2018, Léa Drouet is creating Boundary Games, a scenic form that offers the audience a sensitive, visual and sound experience involving the composition and break up of groups by varying the situations associated with organisations or group dynamics.

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