|Music original||Alain Mahe|
|Ligth Designer||Remi Nicolas|
|Assistant to Ligth Designer||Lionel Colet|
|Set, accessories and scenic objects||Clement Dirat, Julien Fleureau|
|Conception of masks and accessories||Jacqueline Bosson|
|Costume Designer||Françзoise Yapo|
|Assistant to Costume Designer||Karin Wehner|
Johan Bichot, Ivan Fatjo, Eric Fessenmeyer, Grégory Feurté, Peter Gemza, Anastasia Hvan,
Panagiota Kallimani, Anne-Sophie Lancelin, Lazare, Cécile Loyer, Josef Nadj, Emanuela Nelli,
|Producer and TourManage||Martine Dionisio|
With financial support of La Région Centre
With support of: Ministry of Culture of Russian Federation, Government of Moscow, Culturesfrance (Ministère des Aff aires ètrangères et Européennes), Centre Culturel Françзais de Moscou, la Scène Nationale d’Orléans Le Centre chorégraphique national d’Orléans est subventionnй par le Ministère de la Culture et de la Communication – DGCA – DRAC Centre, la Ville d’Orléans, la Règion Centre, le Département du Loiret. Il reçoit l’aide de Culturesfrance (Ministére des Aff aires Etrangères et Européennes) pour ses tournées internationales.
Le Centre chorégraphique national d’Orléans – direction Josef Nadj est membre de l’Association des Centres Chorégraphiques Nationaux (ACCN.
Chekhov’s dramatic sketch in one act «The Swan Song (Kalchas)» was written at the turn of 1886 and 1887. The main character Svetlovidov (his name literally translates as “the one who sees clearly) is an elderly actor who found himself alone in an old theatre late at night. Played on that night had been Jean Offenbach’s «La Belle Hélène», a benefit performance, timed for the 45th jubilee of the actor’s career in theatre and in which he appeared as ancient soothsayer Kalchas. Svetlovidov had worked 45 years in theatre but that was the first time he saw the stage at night and he was shocked by the sight of «the black bottomless cavity that looked like a grave where Death herself must have been holing up». He saw the place where the border between reality and illusion had been erased and became shadowy and fuzzy.
The empty theatre was the realm of darkness and ghosts, the space of the «black box» appeared to be both empty and full of memories. This allowed the character to «replay» the other times, digging out from his memory fragments of the past and finding the way to the beyond of his own experience which enabled him to once again «take a drink» from the source of his art. This metaphor is central to Josef Nadj’s new staging
A drama theatre lacks the variety of forms one finds in dance. It seems that this theatre is just naturally tired and worn out. Or maybe this is the implication of the modern theatre being fed up with the narrative. Nothing like this happens in dance. It is always a free flight of image.