Jacques Vincey directed William Pellier’s Mammalian Grammar.

photo by Christophe Reynaud de Lage

Under the direction of the institution’s director, Jacques Vincey, eight actors from the artistic ensemble of the Olympia Theatre, National Dramatic Center of Tours, take over the management. Grammar of mammals William Pellier. Everything is excellent, they highlight the rich and unique writing that we are surprised we know so little about.

Although he has been writing for the theater since 1984 and has been published since 2004 by Éditions Espace 34, William Pellier is a constantly discovered author. The first reason is that a dozen of the theatrical texts he wrote were hardly staged. In his preface to Grammar of mammals (2005), the last published play by William Pellier, one Michel Cornavin – not to be confused with the academic Michel Corvin, a 20th-century theater specialist whose obituaries (he died in 2015) teach us that he was also a grammar teacher. – recalls the production of Thierry Bordereau, presented in 2011 at the Theater of the Manufactory during the Avignon Festival. There will be few others. Probably partly for the reason mentioned in the cryptic preface: while reading, Grammar of mammals seems ” stutter, stomp on repetition “. It may seem that it is written in ” confused language, irritating coquetry, groundless and abstruse formalism “.

Designed for actors so they can” invent life on stage ” – this time the author himself speaks in the afterword of his book, – it is on the stage that the work of William Pellier is truly revealed. Provided you find a way to tame it: the mammals that inhabit it are not domesticated. Or they were too long ago for it to still be visible to the eye of an outside observer, the viewer. Jacques Vincy, who discovered the author during an audition at the Youth Theater in the Center-Val-de-Loire (JTRC), a unique professional integration scheme in France created in 2005 as a joint initiative of the state, the region and Olympia. The theater – the Center Dramatique National de Tours or “T°” for those close to it – takes on the theatrical animal with eight young actors from its artistic ensemble, made up mostly of JTRC artists. Subtle approach.

Let’s name these artists before their identity is swept away. Grammar greatly concerned about William Pellier: Alexandra Blaiovici, Garance Degos, Marie Deporter, Cécile Feuillet, Romain Gy, Hugo Kuchel, Tamara Lipchitz and Nance Mérieux. They themselves appear before us from the theater hall in a kind of confession of faith in relation to the author, which we are learning to be. born May 19, 1963 in Ambilly / son of John Pellier, his father, and Daniel Pellier, née Bernaz, his mother. “. If the person responsible for these lines tried to catch up with us, he would do it just as well: after a few clear recitations, the introduction turns into a mess, a cacophony. In accordance with the answers, the bodies collide, preventing each other from going to the end in that direction, in which they seemed to be about to move.

So it’s clear if he’s the king Grammar of mammalsthe actor is not dependent on any character. Even in some way “against” this hard-skinned creature, despite all the attacks that have been and are still made against him, and which William Pellier ridicules, mixing these memories of beatings and wounds with completely different references. , often from other disciplines. ” Borges, or Borges, or Borges, I don’t know how you put it, I have nothing to say. somersaults, for example, who knows how in the middle of a chatter whose only topic is the lack of topics to share between people of the 21st century. Later, in a kind of mini vaudeville, a certain William compares the words of the Doctor with those of Yasmina Reza, to which a certain Ana replies – no misunderstanding, this is the only place in the room where the lines are associated with the first. names -: ” Or Philippe Delerme Did you read (Sip) x 2 Sip wee Sip You know wee Sip wee “. Grammar of mammals this is not what children are taught: it does not structure thought, but reveals flaws, unearths inconsistencies.

To give shape to this material that never ceases to elude, constantly going down different paths, Jacques Vincy called for the “complicity” of two other artists: the playwright and baroque singer Vanasai Hafommala, whom he knows well because he has worked with him a lot, and a dancer and choreographer Thomas Lebrun. Their interference is sensitive to how the case of the expression follows each other and often overlaps in the product. Thus, we seamlessly move from a scene where actors dressed in grassy costumes evoke the possibility of a kind of orgy – never realized – in a pigsty, to a strange anatomy lesson applied to a “protagonist” whose numerous appearances seem to want to remind us what the theater once was and what it can no longer be. Without telling us what it could become.

Without a doubt, this Grammarwhich contains only about half of the full text, could have been even more adventurous. It regularly takes well-known forms – TV show, cheerleading, family comedy … – which tend to limit the possibilities offered by the text, of which the author says: ” one must imagine that dozens of events are intertwined behind the chatter: meetings, conspiracies, alliances, flirting, meals, experiences, games, as if the actors are playing on two separate tables, but which reflect one in the other: one does what they do. say another what they do. Finally, a silent role is not ruled out, lost in the center of this chatter. “. However, the eight actors give us a crazy measure of the text they serve. And make you want to keep learning.

Anais Eluin – www.sceneweb.fr

Grammar of mammals

Text by William Pellier (Editions Espaces 34)

Directed by Jacques Vincy

In partnership with Vanasai Hamfommala, playwright and singer, and Thomas Lebrun, choreographer.

Scenography by Mathieu Lorry-Dupuy

Set designer assistant Leonard Adrian Bugot

Lights Diane Guerin

Sound Alexander Meyer

Celine Perrigon in costume

Video Blanche Adilon-Lonardoni and Mael Fusilier

With Alexandra Blaiovici, Garance Degos, Marie Depourterre, Cécile Fayet, Romain Gy, Hugo Kuchel, Tamara Lipchitz, Nance Mérieux

Production National Drama Touring Center – Olympia Theater
Co-production of the National Choreographic Center of Tours with the participation of the Youth Theater program in the Center-Val-de-Loire region.

Duration: 2h15

Olympic Theater – National Drama Center Tours

From 3 to 13 November 2021

National Theater of Bordeaux in Aquitaine

From 1uh until December 4, 2021

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