Conception, stage design and direction Michel Schweizer

Michel Schweizer and his new team (six trainers, a philosopher, a psychoanalyst and a former legionnaire) invites us today to participate in a shared reflection on the new, increasingly barbaric economic systems which have become operational thanks to the psychological damage they provoke. What is alarming and new in such a system, is that it is being constructed with the silent accord of a blind servility, a new incapacity of the subject to resist – other than tragically – these new forms of power. Forms which find in the consumer/citizens which we have become, the ideal actors/allies of those who work toward a vast project of servility and generalized apathy.

Faced with a veritable crisis of bearings in which we see the development of the figure of a “new man” or a “man without gravity” entirely fabricated by neo-liberalism, Bleib interrogates, as if in order to continue to believe, the existence of a symbolic order, or a society of the subject, wherein the Other would be able to find its logical place, as a figure necessary to the organization of a society of “me” and “us.”

With Philippe Desamblanc et Titeuf de la Fontaine St Maurice, Jean Gallego et Ulster, François Vavasseur

and Robot du Vieux Marronnier, Pascal Perrot et Aston, Frederic Pruilhière et Khéops du domaine de la Rochelière, Dany-Robert Dufour, Gérard Gourdot, Friedrich Lauterbach, Jean-Pierre Lebrun

Artistic advice Sèverine Garat
Light design Éric Blosse
Stage manager Marc-Emmanuel Mouton
Sound design Nicolas Barillot
Graphic design Franck Tallon
Photography Frédéric Desmesure et Jean-Paul Dubecq
Masters dogs / technic advice Yann Armand & Andrej Skrha

Production La Coma
Coproducers Espace Malraux, scène nationale de Chambéry et de la Savoie / OARA – Office Artistique de la Région Aquitaine TnBA, Théâtre National de Bordeaux Aquitaine / Festival Novart, Bordeaux / Château Rouge – Annemasse / ARCADI – Action régionale pour la création artistique et la diffusion en Ile de France.

Photo credit Frédéric Desmesure