Return to Berratham

2015 Creation

Piece for 14 performers
Text Laurent Mauvignier
Commissioned by Angelin Preljocaj
Choreography / Direction Angelin Preljocaj
Scenography Adel Abdessemed
Lighting Cécile Giovansili-Vissière
Music 79D
Assistant to the artistic direction Youri Aharon Van den Bosch
Choreologist Dany Lévêque
Dancers Virginie Caussin, Margaux Coucharrière, Emma Gustafsson, Caroline Jaubert, Émilie Lalande, Barbara Sarreau, Cecilia Torres Morillo, Laurent Cazanave, Aurélien Charrier, Fabrizio Clemente, Baptiste Coissieu, Niels Schneider, Liam Warren, Nicolas Zemmour
Production Ballet Preljocaj
Coproduction Festival d’Avignon, Théâtre National de Chaillot, Les Théâtres de Luxembourg, Grand Théâtre de Provence, Théâtre des Salins
With the support of Fondation BNP Paribas and Association Beaumarchais-SACD
Duration 1h25
Premiered on 17 July 2015 at Avignon Festival, Cour d’honneur du Palais des Papes
Partnership with Les Souffleurs d'images
« Literature is sporadically present in my work. I often need words», Angelin Preljocaj asserts. So, for example, Pascal Quignard crafted L’Anoure for him, a text for his choreography. Then the choreographer became dancer/actor for long enough to perform Jean Genet’s Le funambule. Last of all came the encounter with Laurent Mauvignier, whose story Ce que j’appelle oubli Angelin Preljocaj translated into gestures in 2012. His latest creation, Retour à Berratham, brings them together once more around a dance commission. « A contemporary epic tragedy was what I asked Laurent Mauvignier for ». The choreograph once more wanted to explore human movements as much as words. Dancers and actors are present on stage in a set by the sculptor Adel Abdessemed, « an artist inhabited by the violence of our societies », in the choreographer’s words. The states of bodies after war run through these lines. « The story begins where a war piece would finish, » writes Laurent Mauvignier. In the eyes of Angelin Preljocaj, it chiefly concerns a question, that of this young man who comes back to Berratham in search of the woman he loves, Katja. He no longer recognises anything. And while looking for Katja he returns to his childhood, his past. This transfiguration of beings and places is shown in the text. What is at stake is collateral damage. For Laurent Mauvignier, « this story is also the wave of shock and violence, of wounded memory, of the survival instinct. » It is the purpose of Angelin Preljocaj’s dance to soothe scars. For Katja. For us. »
Philippe Noisette (Théâtre National de Chaillot 2015/2016)

Around the creation