The Compagnie Théâtrale de la Cité
Troupe delegated to the Théâtre de Bligny
En ce moment sur le grill !
L'AVARE - Molière
Troisième volet de la trilogie "Dom-Juan / Tartuffe / L'Avare"
2019 - 2025
Première mise en scène bicéphale de la Compagnie Théâtrale de la Cité
Nicolas Hocquenghem - Didier Dicale
Inscrivez vous à la lettre d'information de L'Avare pour savoir tout ce qu'il se passe autour de cette tétralogie : Evénement, rapports d'évolution, contact avec les professionnels et nouveaux partenaire, répétitions publiques, publications, photos, vidéos d'étape, teasers, dossiers de presse, etc...
"Dom Juan" by Molière at the Théâtre de Bligny
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5th season / Rejuvenated cast
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The Théâtre de Bligny is a three-stage rocket:
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The first floor is the owner of the walls: the Association du Center Hospitalier de Bligny, which presides over its long-term destiny of the building and determines the mode of operation of the theater. In 2004, the presidency of Center Hospitalier de Bligny made an innovative strategic choice by deciding to entrust the theater to an artist rather than to a manager.
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The second floor is the operator : the Association du Théâtre de Bligny, which ensures the integrity of theater equipment, compliance with safety standards and mandatory maintenance, finances the replacement of outdated, obsolete or out-of-date equipment. standard. It is the Association du Théâtre de Bligny which chooses the delegated artist.
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The third floor is the delegatee . The operator gave "delegation" to an artist, the actor and director Nicolas Hocqueghem (and the Compagnie Théâtrale de la Cité ) to manage all aspects of the operation of the Théâtre de Bligny: administration, programming, the choice of artists in residence, communication, background research, and relations with institutional or territorial supervisors , etc ...
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And in the capsule at the top of this rocket, we put the artists who perform on the theater stage or participate in artistic expression workshops in the theater, in the villages and in the hospital services , and we send them to the theater. 'space...
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Download the production file for TARTUFFE de Bligny (PRINT version)
Download the production file for TARTUFFE de Bligny (WEB version)
LE TARTUFFE by Molière is the latest production from the Compagnie Théâtrale de la Cité.
(Version of 1664 in three acts)
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This play is part of a tetralogy in co-production with the Antoine Vitez Theater in Ivry-sur-Seine:
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THE TARTUFFE , DOM JUAN , THE MISTY and THE MISANTHROPE
between 2019 and 2021.
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Nicolas Hocquenghem, Briefly introduce the Compagnie Théâtrale de la Cité to us.
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"The CTC - Compagnie Théâtrale de la Cité - was officially born on December 5, 1998 on the occasion of the publication of its constitution in the Official Journal of the French Republic. It is a non-profit cultural association.
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It is a troop in the Moliéresque sense of the term. That is to say that our shows are made - for the most part - with the same actors, and that we define ourselves as a community of destiny - a family of artists, as opposed to "casting companies" which adapt their distribution to the repertoire they play.
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It was founded by (alphabetical order): Didier Dicale , Christine Gagnepain , Nicolas Hocquenghem , Hassen Sider and Philippe Villiers . 4 actors and 1 technician and light designer.
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These five have participated in almost all of the CTC's creations. A few years ago, the technician retired but remains very close to the troops and intervenes occasionally; one of the actors went to the provinces to practice another facet of his art, with success. "
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AGRIPPINE: "Approach Nero, and take your place
We want on your suspicions that I satisfy you "
BRITANNICUS by Jean Racine. Presentation of an extract during the CTC's first contact with the public when they arrived at the Théâtre de Bligny on October 2, 2009. Néron: Philippe Villiers; Agrippina: Christine Gagnepain
How to present the style of the CTC?
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"The Compagnie Théâtrale de la Cité makes theater, it is its identity, its desire, its expression, its art. It puts all its strength, all its knowledge, all its experience, all its means, all that it has in that, without concessions.
We practice what the critics call a language theater where the text is the essential element which leads to the choices of the creations in which we launch ourselves, but also in the way of treating expression of the actors on stage.
We can thus spend weeks, even months of work at the table before tackling the first stage rehearsals. We approach the text like a musical score. It is founder.
Our style is constantly evolving. He perfects himself, corrects himself, revolutionizes himself each time. It can change drastically overnight.
But we have to recognize that this "style", as you say - our way of doing things - still responds to a certain number of characteristics which sign the identity of this family of artists. Sort of.
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We play texts from the classical repertoire, or contemporary texts by living authors with a high added poetic value.
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Generally, we present a frontal theater where diction holds a primordial place. The slowness of the gestures and their sobriety; the attention paid to insensitive details and the force of the spoken word, which fills the room, can constitute a sort of signature ... Yes, the text makes the bodies move. This is how I see it.
But - how to say? Defining the artist's style: it's like describing the taste of an orange to someone who has never tasted it ...
You have to see it to believe it !"
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KHYOL ': "The play is not over, you can still take your place in the audience."
THE LIEUTENANT: "I took my place in the audience. For the first scene. But what I saw was enough for me."
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KHYOL by Randal Douc. Lieutenant: Nicolas Hocquenghem in October 2016 in El Téatro, Tunis
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And you ? Nicolas Hocquenghem, what kind of director are you?
"Basically, I'm an actor. I started like that.
When, as a teenager, I told my parents that I wanted to be an actor, they were a little disappointed. Rather, they saw me teaching mathematics, or doing basic research like them. But they didn't try to dissuade me. However, they put a draconian condition: that I do a national school. So I took the ENSATT competition - trembling - in the rue Blanche, and I succeeded. So I will be an actor!
My teachers, those who taught me everything, and above all showed me how not to get confused, are: Brigitte Jaques-Wajeman , Michel Boy , Stuart Seide and Geneviève Rosset . I owe them everything. My father was right: I had to be trained by great teachers. And these are the best. I couldn't have done it without them.
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I came to directing by the stage, by the feeling of actor, by the confrontation of bodies, texts and expressions in front of the public, by the amazement in front of great directors of actors; by the desire to do it, and the work too. It is something that cannot be improvised. What I can tell you that it is a very heavy load because we are responsible for the fate of the actors we direct. We do not have the right to make mistakes.
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In 1998, when the troupe was created with my friends, it was immediately obvious that I would be directing the first CTC show. It was Britannicus by Jean Racine that we created on the occasion of the Racinian tercentenary in 1999. Since then, I have directed all the creations of the Compagnie Théâtrale de la Cité.
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But I admit, it is difficult for me to talk about myself, my work, my choices; of why I do like this or like that. There are unspeakable things in art, indescribable. Theatrical cooking passes through improvised biases, unexpected experiences, unforeseen accidents, unexpected trials, mistakes, and joys.
It is the result that counts. And the result, only others can talk about. It would be too pretentious to think of doing it myself.
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Come see the shows. You will understand why I say that! "
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Nicolas Hocquenghem
Actor and director
Knight of Arts & Letters
Artistic Director of the Compagnie Théâtrale de la Cité
Co-director of the Théâtre de Bligny
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FLAMINIA. "What! Did you remember me again?"
HARLEQUIN. "When I gave my friendship to someone, I never forget it, especially at the table."
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LA DOUBLE INCONSTANCE by Marivaux at the Jean-Vilar Theater in Ivry-sur-Seine, November 2007
Flaminia: Christine Gagnepain; Harlequin Didier Dicale
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Molière's Tartuffe (1664 version in three acts) by the Compagnie Théâtrale de la Cité at the Théâtre de Bligny is co-produced with the Théâtre Antoine Vitez - Scène d'Ivry and receives the support of Adami , Spédidam , Île-de-France region , the Department of Essonne , the Community of Communes of the Pays de Limours , the Center Hospitalier de Bligny (Association du Théâtre de Bligny) and the C entre Cultuel Foranim (studio reception)
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Download the production file for TARTUFFE de Bligny (PRINT version)
Download the production file of TARTUFE de Bligny (WEB version)
Next meetings of the Compagnie Théâtrale de la Cité in Île-de-France:
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Dom Juan de Molière
5th season - new, rejuvenated cast
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Sunday 11 October 2020 4:00 p.m.
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