Bérénice

The love between Titus and Bérénice is an impossible one. Neither of them can admit it. Bérénice cannot even conceive of it: her lover has been swearing his undying love for five years now. As for Titus, he prefers to close his eyes to it, drowning his sorrows. But then comes the tragic day. Torn between the way of the world and lovers’ faith, choices must be made. A choice that will tear them apart. And yet it would seem that one word alone is all Titus needs in order to dictate his will to the entire universe and marry Bérénice. She herself encourages him: “Talk, speak!” Why does he remain powerless?... Racine himself gives us the following indication: “All invention”, here, “is about making something out of nothing”. Silently, void of any coups de théâtre, this “nothing” becomes a dividing line which opens up between the two lovers, and separates them. It widens the gulf between them but also prompts their voices to rise up in “majestic sadness”, culminating in a mighty outpouring of undying passion. As we have seen from her directing work in Une Bête dans la Jungle and Un Amour impossible, Célie Pauthe is particularly sensitive to poignant stories such as these in which we find a distillation of the essence of an intimate bond. Her Bérénice, which she came to through her readings of Duras, will be borne out of this same intuition.

Berthier 17e

France

Berthier 17e

11 may – 10 june 2018 / Length about 2h15

Bérénice

by Jean Racine

directed by Célie Pauthe

with Clément Bresson, Marie Fortuit, Mounir Margoum, Mahshad Mokhberi, Mélodie Richard, Hakim Romatif

Timetable

From Tuesday tu Saturday at 20h, Sunday at 15h. No performances on Sundays 13th and 20th May.

Length about 2h15

Votre venue

Berthier 17e
Access

Prices

from 8€ to 36€
More info

Booking online opens March 27th. May 2d mai for the previews.

Accessibility

audiodescription Tuesday 22d and Sunday 27th May
Subtitled in French and English: Fridays 25th May and 8th June

  • Bérénice | © photogramme extrait du film Césarée de Marguerite Duras
    © photogramme extrait du film Césarée de Marguerite Duras

The love between Titus and Bérénice is an impossible one. Neither of them can admit it. Bérénice cannot even conceive of it: her lover has been swearing his undying love for five years now. As for Titus, he prefers to close his eyes to it, drowning his sorrows. But then comes the tragic day. Torn between the way of the world and lovers’ faith, choices must be made. A choice that will tear them apart. And yet it would seem that one word alone is all Titus needs in order to dictate his will to the entire universe and marry Bérénice. She herself encourages him: “Talk, speak!” Why does he remain powerless?... Racine himself gives us the following indication: “All invention”, here, “is about making something out of nothing”. Silently, void of any coups de théâtre, this “nothing” becomes a dividing line which opens up between the two lovers, and separates them. It widens the gulf between them but also prompts their voices to rise up in “majestic sadness”, culminating in a mighty outpouring of undying passion. As we have seen from her directing work in Une Bête dans la Jungle and Un Amour impossible, Célie Pauthe is particularly sensitive to poignant stories such as these in which we find a distillation of the essence of an intimate bond. Her Bérénice, which she came to through her readings of Duras, will be borne out of this same intuition.

On Video

Previews

Previews Box office opening dates Prices single-price 50%
9th and 10th May / 20h
2 May
18€ / 14€

Previews at the Odéon, this is 6000 half-price seats!
From January 2017 onwards, we will be offering two half-price preview performances for long-running shows.
Know more

Credits

collaboration to the direction Denis Loubaton
artistical collaboration Marie Fortuit
scenography Guillaume Delaveau
lights Sébastien Michaud
costumes Anaïs Romand
music and sound Aline Loustalot
video François Weber

production Centre Dramatique National Besançon Franche-Comté

with the support of the Cercle de l’Odéon

#Bérénice

Director

Célie Pauthe

D’abord assistante à la mise en scène (Ludovic Lagarde, Jacques Nichet, Guillaume Delaveau, Alain Ollivier, Stéphane Braunschweig), elle intègre en 2001, l’Unité nomade de formation à la mise en scène au CNSAD. En 1999, elle travaille avec Pierre Baux et Violaine Schwartz, à la création de Comment une figue de paroles et pourquoi, de Francis Ponge. En 2003, elle met en scène Quartett de Heiner Müller au Théâtre national de Toulouse (Prix de la Révélation théâtrale du Syndicat de la critique) ; puis, en 2005, au TNS, L’Ignorant et le Fou de Thomas Bernhard. Elle crée La Fin du commencement de Sean O’Casey au Studio de la Comédie-Française en 2007, et, l’année suivante, S’agite et se pavane d’Ingmar Bergman au Nouveau Théâtre de Montreuil. En 2011, elle met en scène Train de nuit pour Bolina de Nilo Cruz pour la biennale de création « Odyssées en Yvelines ».

De 2010 à 2013, Célie Pauthe est artiste associée à La Colline-théâtre national. Elle y crée Long voyage du jour à la nuit d’Eugene O’Neill ; avec Claude Duparfait, elle collabore à la mise en scène de Des arbres à abattre d’après le roman de Thomas Bernhard; puis Yukonstyle de Sarah Berthiaume, jeune auteure québécoise (création mondiale) et en 2014, Aglavaine et Sélysette de Maurice Maeterlinck.

Depuis septembre 2013, elle dirige le CDN Besançon Franche-Comté où elle crée en janvier 2015 La Bête dans la jungle suivie de La Maladie de la mort, d’après Henry James et Marguerite Duras ; et en 2016, elle collabore avec Claude Duparfait, à la mise en scène de La Fonction Ravel. Par ailleurs, elle travaille avec la plateforme Siwa sur un projet autour de L’Orestie d’Eschyle, mené par une équipe franco-iraquienne. Elle créé en 2016 au CDN de Besançon Franche-Comté Un amour impossible, d’après le roman de Christine Angot adapté par l’auteur, avec Bulle Ogier et Maria de Medeiros.

Excerpt

Ne m’abandonne pas en l’état où je suis.
Hélas ! Pour me tromper je fais ce que je puis.

Racine : Bérénice, acte III, scène 3