Théâtre du mépris 3 by Didier-georges Gabily

Didier-georges Gabily Théâtre du mépris 3
direction Aurélien Recoing

Presentation :

The Director's Intentions

There is in TDM 3 (a play commissioned by Christian Colin based on Mépris by Godard) an assessment of the state of repair of all or part of our society of entertainment. Didier-Georges Gabily is asking us to comment on the mathematical formula represented by the encounter of these fictional people and which is equal to the title Théâtre du Mépris 3. When the "algebraic" problem posed by Didier-Georges is read, the procedure has to be accepted, the "calculation" made. The exercise must be attempted, the story which follows the formula must be told, an experiment open to interpretation. With this educational trick (of formulating and proposing an equation), the writer is careful not to give us a solution and thus imprisons us.
There is a declension to be made in the commentary, a commentary which will in fact be the sum of the explorations of the situation in a unity of place, not of time. In this way, tribute must be paid to the commentary, commentary as a transcription, its support being in a large part the work of the director.
There is something great, and right in this play by Didier-Georges Gabily. There is a sort of juxtaposition and confrontation between a realistic speech which is not true, and its opposite, an unrealistic, enchanted speech which is essentially, naturally true. In this, there is no judgement, only the preparedness to listen to a certain kind of humanity.
There is an abyss between those who make, build or create, who constantly doubt the representation of the world, and those who are whole, bodies, words, thoughts and deeds being inscribed in one and the same existentialist vein. We recognise Ulysses (the wanderer taken by force from the street), the Man with the Hands (he sells his hands for advertising) and the Chorus (made up of ten additional actresses). All these characters are extremely true, hard, inalterable, they come directly from different mythologies, ancient and modern. The others, the Écrivain (E.) (writer), the Producteur (P.) (producer) and the Héroïne (H.) (heroine) are no less appealing. They are in wait, in need, they are directed entirely towards the present. They hope that something will happen to them, they are not the story but its movement. They want to be ready to invent, to create ... but what? They themselves don't know, devoured as they are - a question of survival, no doubt.

There is a conflict between two worlds, between those who know that representation exists and those who don't. However, the former miss the word of truth, the one which occurs between the director (Réalisateur), the writer (Écrivain), the producer (Producteur) and the character known as Ulysses. P., E. et R. are hoping for a word which might inspire them for a new future film. But the word found thanks to the presence of Ulysses is too true to be used for anything at all and in any case is not needed by anyone, they believe. Here, we witness the consummation of an event in conflict with History. Ulysses is a veteran of Indochina who, after a long silence (an aphasia which has no doubt lasted for years), begins to speak and doesn't stop. But no-one is capable of hearing this universal word except the Héroïne, who approaches him, takes care of him and gives him some knowledge (for example, how to use a video, etc). She becomes, for the time of an encounter, the incarnation of Penelope.
The play is to be played in a space stripped of its theatrical features where we will all be on the same level in the writer's apartment. The audience will be seated in the centre, on mats, cushions and sofas, like at home, in wait, like P., E. and R. are in wait. A space which copies reality and where the actor-characters live, play and lean on the four walls, with the audience inside the very walls.
During rehearsals and performances, we will make a film of the play with a digital video camera.

Aurélien Recoing