Les quatre porteurs de projets

Thierry Mousset

Mentor: Christoph Diem, Mitglied der Jury, Regisseur, Dramaturg und Leiter der sparte4 Saarbrücken / Deutschland
[DE] Thierry Mousset (23) hat als Regieassistent u.a. für die Théâtres de la Ville de Luxembourg, das Barbican Centre in London, La Monnaie in Brüssel und das LOD muziektheater in Gent gearbeitet und hat Regisseure wie Ivo van Hove, Pierre Audi und Denis Marleau assistiert. Er inszenierte Spring Awakening in 2013 und Totentänze für das Kasemattentheater in 2015. Er studierte Literatur in Paris und schreibt momentan seine Masterarbeit an der University of Cambridge.

Das Projekt Luxemburg-Afghanistan

Als Teil der internationalen Koalition gegen das Taliban-Regime, stationierte die luxemburgische Regierung zwischen 2003 und 2014 neun Soldaten in Afghanistan. Dies wurde sowohl von der luxemburgischen Bevölkerung als auch der nationalen Presse weitgehend ignoriert. Ziel dieses Projektes ist es eine Diskussion über unsere Rolle in diesem Krieg anzuregen. Die Perser von Aischylos dienen als Textbasis und werden kombiniert mit Zeugenaussagen von ehemaligen Soldaten, sowie parlamentarischen Reden, um eine vielseitige Kollage mit verschiedenen Standpunkten zu erstellen.

Renelde Pierlot

Parrain: Yves Beaunesne, membre du jury, metteur en scène et directeur de la Comédie Poitou-Charente /  France

[FR] Diplômée du Conservatoire Royal de Liège en 2011, Renelde Pierlot s’intéresse au jeu et à la  mise en scène. Actrice dans La Maison de Bernarda Alba et dans Furcht und Wohlstand des Luxemburger  Landes mis en scène par Carole Lorang, dans Dom Juan et Oncle Vania mis en scène par Myriam Muller, Renelde aime également participer à l’écriture de spectacles. Elle a ainsi co-écrit et joué dans Grève 60 mis en scène par Patrick Bebi, Welcome to Europe et Frühlingserwachen, von einer  vergessenen Revolution mis en scène par Ulrike Günther. S’intéressant à la mise en scène, Renelde Pierlot a été assistante de Marja-Leena Junker, Myriam Muller, Marion Poppenborg et Françoise  Petit-Balmer avant de signer ses propres mises en scène sur Placement Final d’Ara Watson et Famille(s), une écriture collective.

Le projet Cuisse de Nymphe émue

Cuisse  de  nymphe  émue  est une performance théâtrale hybride, poétique et surréaliste explorant la thématique du formatage. Dans un contexte où les dynamiques économiques et de consommation s’insinuent jusque dans les corps et sans crier gare, deux jeunes femmes, créatures mi-nymphes mi-objets, partent à la découverte de leur identité: cuisses de  nymphes émues? Mais qu’est-ce qu’une «cuisse de nymphe émue»? Allant d’une tentative de définition à l’autre, elles mettent en mouvement et en image leurs cuisses, leurs nymphes et leurs émotions. Mais elles savent qu’à la fin il faudra bien mourir... Car le mot «définir», emprunté au latin classique «definire», signifie aussi «mener à bonne fin, achever, mourir».

Speaking in Tongues Theatre Company

Mentor: Douglas Rintoul, member of the jury, writer and director, artistic director at Queen’s Theatre Hornchurch / UK

[EN] Speaking in Tongues Theatre Company was founded in 2010 by Bethan Clark, Larisa Faber and Ceridwen Smith after their graduation from Drama Centre London. With a seat in both Luxembourg and London, the bi-national company seeks to investigate European issues through contemporary texts, devised pieces and educational workshops. Past work includes Common Ground (2014, Imperial War Museum London), Olga’s Room (2012, Neimënster/Arcola Theatre London) and The Cave Monologues (2011, Monodrama Festival).

The project Mad City – A Cacophony In Mouvement

Mad City is a semi-fictional exploration of modern urban life’s cramped craziness, through text collages, movement and video projections. Mixing real-life accounts with fictional original work, Mad City aims to offer a kaleidoscope of moments about the modern urban experience. The impulse to devise this piece stems from personal experiences living in large cities. London in particular, with its unflinching capacity to lovingly grind you to the bone, gently squeeze you like a fresh lemon, while you are running and running in its beautiful hamster wheel, trying to catch up. The joys of shared accommodation, that wonderful box room in zone 4 which costs a mint, the endless care of drawing up a cleaning plan only to have it ignored and bathe in the resulting all-encompassing grime. The overwhelming comfort of the tube at rush hour, your armpit in my face, my elbow in your back, your bum on my bum. The intimacy of the tube while trying to ignore each other’s presence and odours most resolutely. All these fond memories, so common to the daily lives of millions, will constitute   the backbone and creative drive for this piece.

Claire Thill

Mentor: Alexander Zeldin, director and writer, associate director at Birmingham Repertory Theatre / UK

[EN] Trained as an actress in London and Paris (Royal Central School of Speech and Drama,  École internationale de théâtre Philippe Gaulier), Claire is a multilingual (French, German, English, Luxembourgish) performer and theatre maker from Luxembourg. She works  as  a  freelance  actress  all around Europe (Germany, France, Belgium, Luxembourg, UK...). She has been working with internationally renowned directors such as Frank Hoffmann, Silviu Purcarete and Michel Didym. Film and TV credits include Petits Secrets, Rabelais, Save Angel Hope, The Prodigies and Flawless. Claire was awarded a scholarship by the Goethe Institute to take part as a young and emerging theatre practitioner in the Berliner Theatertreffen. In 2010 she was part of the Talentcampus of the Berlinale. She is a founding member of London based company InTransit Theatre and the Luxembourg collective Independent Little Lies. Claire also works as a director. Her staging of Dance Play by Ana Mendes received the Preis der Jury at the 100 Grad Festival in Berlin. Claire is currently based between London and Luxembourg.

The project Two Pigeons Perching on a Bench

Two Pigeons Perching on a Bench is the collaboration between a performer and a sound artist. The aim is to create a performance about eavesdropping, gossip and surveillance that is built on fragmented vignettes around voice and sound recordings. It is a new piece on how we perceive our surroundings through sound and the stories we hear or deliberately choose to hear. The project is not driven by a traditional narrative. It entertains an almost philosophical, empirical approach to performance making. Two apparently disparate story lines gradually unveil themselves. Fiction leaks into reality and reality imperceptibly changes into fiction. The audience is drawn into an imaginative space where they experience their immediate surroundings in a new manner and get confronted with concepts of constructing stories and the slow emergence of an intangible outside force.