Neighborhood Transformations – Creation 2022 Espace Culturel Boris Vian Les Ulis Friday 25 November 2022

Biology Transformations – Creation 2022 Friday, November 25, 8:30 p.m. Espace Culturel Boris Vian
Book with Claire Fournier
Cie Le Temps de Vivre – Rachid Akbal Mobility Disability Mil

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an introduction

distribution

With Rashid Iqbal and Limia Fett
Director and script: Rashid Iqbal
Dramatic Look: Stephane Chakroun
Scenography: Cecilia Galli
Fashion: Fabian Defleches
Video creation: Didier Léglis
Lighting design: Hervé Bontemps
Sound design: Clément Roussilat
General Administration: Katell Le Gars
Scenography and Fashion Assistant: Anna Ward

Produce

Production: Le Temps de Vivre Theater Company

Co-production:
La Bèl Parol Festival / Cie Karanbolaz (97)
Luc Donut Theater in Reunion (97)
Agora of Desnos, National Landscape of Eason in Ivry (91)
Boris Vian Cultural Space in Les Ulysses (91)

With assistance in the creation of the Ile-de-France region
With financial support from the Essonne department

Receptions in residence: Usine Theater in Eragny, Avant-Seine / Colombes Theater, Luc Donat Theater in Réunion, Agora-Desnos, Essonne National Theater in Evry.

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creation process

By Rashid Iqbal

Read the diary of creation

We have an inherited past that makes each of our bodies a finite and infinite part of the history of the Earth, the history of the planet, its history, and the history of its matter. I was born. The matter for which it was made has nothing purely present. I convey the past of the ancestors, and I am destined for the unimaginable future.
Emmanuel Coxia

For this new creation, I wanted to talk about our relationship with the living. But for me the theater is where the question is. Is the Covid pandemic and climate change a product of countries’ blindness to their obsession with growth, their pleasure in reconciling GDP numbers, and their race for enrichment, and extraction? Is it the results of our alienation from the living? How do I relate my questions to what I identify as my path, my own questions, and my artistic choices?
My fear was to go on with a story that locked me into a letter. Also, I chose to mix real and fiction, to start from harvesting stories, and weaving them into fiction.

I begin with an introduction where I remember that walking is the act that determines the existence of Homo sapiens, and their separation from the rest of the living. The two female characters, Klee and the Malagasy woman, are inhabited by the Invisible, who are bridges between humans and non-humans.
Ovid, in his Metamorphoses, is of course the first – in a very avant-garde manner – to open up this bridge between humans and non-humans, to describe precisely the potential physical and psychological correspondence of change with the Other. It largely guided my steps through the creative process.
But I couldn’t leave my characters alone to bear my burden, so you ventured outside theaters as an artist who strolls in search of stories. I made trips to Reunion Island. During my travels, I wrote travel diaries that tell the story of my view of the living and feed the show through the narrator I embody. For a long time, my writing relied on non-linear forms. Abundantly colourful, cyclical and filled with reinforcements, flashbacks, transitions, work continues apace to deliver narrative complexity.

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I have, over the years, orientated my strides toward social themes, created engaging theatre, often placing myself at the center of my stories, using my alternate ego Kaci.
Having firmly placed myself in the circle of artist-authors, I walked in Kaci on the paths of great history. With him, I liked to question this often misused word: identity, to put it at the core of my characters’ interests, and make it important to the game and me.

From the introduction to the transformations of the living, I turn my neck away from this quest for identity that only leads to emptiness, and then make it the main storyline, the characters’ true quest.
The uniqueness of their quest comes from the fact that it will find its solution in their relationship with the living. The sense of identity and life becomes inseparable, feeding off each other as the plot develops. We understand that identity is not fixed at birth (date, place), that we come from far beyond ourselves, and that we are included in a story that began a few million years ago.

Start and end dates and times (year – month – day – hour):
2022-11-25 T20:30:00 + 01:00
2022-11-25 T21: 50:00 + 01:00

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