The amazing night-long festival of contemporary performing arts and inventive thought Night of Theatre n°10 • La Nuit des Idées will take place on January 27 2018 at Trimukhi Cultural Centre in the Santhal tribal village of Borotalpada, West Bengal, India where artists and philosophers from France, India, Japan, Canada and Mexico together with actors, dancers and musicians from Borotalpada village will both showcase in situ sound, theatre, dance or dance-theatre performances and evolve in philosophical proclamations as well as in stimulative discussions about “flows of intensity”… It will be asked to each one: “What moves you?” before inviting all to join for a joyful dinner and then for a joyful multicultural dance party until the sun rise again… This event is part both of Institut français’ international Nuit des idées (“Night of Ideas”) to celebrate all over the world the stream of ideas between countries, cultures, topics and generations, and of Bonjour India, a four-month-long celebration of Indo-French innovation, creativity and partnership.
The journey starts on Saturday 27th January 2018 at 1 pm from Howrah station, Kolkata, coming back in Kolkata next day at 11 am. Booking is open from 17th November 2017 to 15th January 2018 online as well as at Alliance française du Bengale (+91-33-4006-4801) and MACE (+91-33-2281-6872). A very limited number of seats is still available. Contribution fee is INR 2,400 with 20% discount for students and senior citizens. It includes train tickets, private bus, tea/snack, entrance to the festival, dinner, overnight stay in the village and breakfast.
⇓ To book online, first fill the Registration form bellow
⇓ And then complete the payment through PayUMoney gateway (applicable in India only)
WITH Barbara Cassin [Paris] Jean-Frédéric Chevallier [Paris, Kolkata] Divya Dwivedi [New Delhi] Sandra Milena Gomez [Mexico] Élodie Guignard [Paris] Motilal Hansda [Borotalpada village] Surujmoni Hansda [Borotalpada village] Marc Hatzfeld [Paris] André-Éric Létourneau [Montréal] Patrice Maniglier [Paris] Shaj Mohan [New Delhi] Chandrai Murmu [Bhangabhandh village] Tibru Murmu [Borotalpada village] Ikue Nakagawa [Tokyo, Bruxelles] Andres Solis [Mexico] and Paola Torres [Mexico city] PRODUCED BY Sukla Bar Chevallier [Kolkata] for Trimukhi Platform
PRESENTED BY Trimukhi Platform, Institut Français AND French Embassy in India IN PARTNERSHIP WITH Alliance Française du Bengale, The Japan Foundation New Delhi, l’Université du Québec à Montréal, Hexagram AND MACE
A GLIMSE AT THE NIGHT LONG PROGRAMME
from 5:30 PM to 5:30 AM • subject to change without prior notice
ATANG DARAM • N°10 MEMORIES santhal ritual of welcoming + sound installation
santhal ritual performed by Delkho Hansda, Falguni Hansda, Laxmi Hansda, Parboti Hansda, Panmoni Hansda, Sombari Hansda, Mado Hembrom, Shaloti Hembrom, Chinta Soren, Kapra Soren and Sukmoni Soren with the participation of Nirmola Mandhi, Regina Besra, Fulu Tudu, Songita Hansda, Raimoni Tudu, Jobarani Murmu, Nitali Mandi, Budhumoni Tudu, Laxmi Mahato, Soromoni Hembrom, Chintamoni Soren, Surujmoni Mandi, Luchi Mandi, Gurubari Soren, Parboti Mandi, Kakoli Hembrom and Ruma Soren sound design by Jean-Frédéric Chevallier sound installation by Sukul Hansda and Dulal Hansda
…. words of welcome
by Fabrice Plançon (Director of Alliance française du Bengale) and Motilal Hansda (Parani of Borotalpada village) translation by Boro Baske
জল ই জীবন । LA VIE DANS L’EAU theatre of presenting
directed by Jean-Frédéric Chevallier in collaboration with Surujmoni Hansda directors assistants Dulal Hansda and Ramjit Hansda performed in the water and lighted by Dulal Hansda, Joba Hansda, Chintamoni Hansda, Surujmoni Hansda, Ramjit Hansda, Sukul Hansda, Salkhan Hansda, Pini Soren, Lilian Hansda and Paromita Hansda with the participation of Nirmola Mandhi, Regina Besra, Fulu Tudu, Songita Hansda, Raimoni Tudu, Jobarani Murmu, Nitali Mandi, Budhumoni Tudu, Laxmi Mahato, Soromoni Hembrom, Chintamoni Soren, Surujmoni Mandi, Luchi Mandi, Gurubari Soren, Parboti Mandi, Kakoli Hembrom and Ruma Soren original texts, video projections and sound design by Jean-Frédéric Chevallier translation to Bengali Sukla Bar Chevallier translation to Santhali Trimukhi Platform produced by Sukla Bar Chevallier for Trimukhi Platform producer assistants Chintamoni Hansda and Surujmoni Hansda
NIUTEΤ RIA SARÉ sound art wandering
directed by André Éric Létourneau in collaboration with Sukul Hansda and Alexandre St-Onge sound device conceived by Chandrai Murmu and built by Sukul Hansda and Dulal Hansda sounds and voices recorded and edited by Sukul Hansda, Dulal Hansda, André Éric Létourneau and in Montréal by Isabelle Barzeele, Marc-André Cossette, Sophia Dallouli, Michel Duchesne, Stéphanie Dupuis, Mély Garde, Claudie Lévesque, Marc Pelletier
সব মুখ সব নাম । JOTO NIUTUM JOTO MÉNHA video installation
installation designed by Sukla Bar Chevallier and Surujmoni Hansda video editing by Jean-Frédéric Chevallier video images and sound taken from Night of Theatre n°1 to Night of Theatre n°10 by Proyecto 3 and Trimukhi Platform _ the installation remains open for the rest of the night
আলেগে আলেদিসম । ALÉGÉ ALÉDISOM photography exhibition
exhibition coordinated by Élodie Guignard in collaboration with Dhananjoy Hansda north wall photographies by Dananjoy Hansda, Dulal Hansda, Joba Hansda, Chintamoni Hansda, Ramjit Hansda, Salkhan Hansda, Sukul Hansda, Surujmoni Hansda and Pini Soren west wall photographies by Jean-Frédéric Chevallier south wall photographies by Élodie Guignard _ the exhibition remains open for the rest of the night
THE CAPSULES LIBRARY sound archive room
directed and performed by André Éric Létourneau in collaboration with Bhudray Besra and Patrice Maniglier sounds and voices recorded and edited by Bhudray Besra and André Éric Létourneau _ the sound archive remains open for the rest of the night
THE NIGHT OF THEATRE 10th ANNIVERSARY participative theatre performance
prepared and directed by Sandra Milena Gomez, Andrés Solis and Paola Torres
… words of anniversary
by Marc Hatzfeld translation by Boro Baske
ABOARD solo dance-theatre
directed by Jean-Frédéric Chevallier and Ikue Nakagawa performed by Ikue Nakagawa sound design and video Jean-Frédéric Chevallier assistant director Chintamoni Hansda
নাখামী । NAKAMI solo dance-theatre
directed and performed by Ikue Nakagawa light and sound Ramjit Hansda and Salkhan Hansda
RESKE ÉNÈD santhal dances + philosophical capsules proclamations
coordinated by Tibru Murmu in collaboration with Falguni Hansda music by Ganesh Hansda, Kanai Hansda, Patoram Hansda, Salge Hansda, Kalicharam Hembrom, Satho Hembrom, Basanto Soren, Chamru Soren and Subul Soren dance by Chita Hansda, Delkho Hansda, Falguni Hansda, Laxmi Hansda, Parboti Hansda, Parmoni Hansda, Sombari Hansda, Gurubadi Hembrom, Chinta Soren, Kapra Soren and Sukmoni Soren philosophical capsules written and proclamated in English by Jean-Frédéric Chevallier, Divya Dwivedi and Patrice Maniglier proclamations in Santhali by Motilal Hansda and Dhananjoy Hansda proclamation in Bengali by Gurubari Hembrom
জানুমজার মাঁথ জানুম । JANUMJAR MANTJANUM trio dance-theatre + philosophical capsules proclamations
directed by Ikue Nakagawa performed by Joba Hansda, Ramjit Hansda and Salkhan Hansda assistant director Sukul Hansda produced by Sukla Bar Chevallier for Trimukhi Platform philosophical capsules written and proclamated in English by Barbara Cassin and Shaj Mohan proclamations in Bengali Gurubari Hembrom proclamation in Santhali Dhananjoy Hansda
INTENSITY FLOWS philosophical discussion
with Barbara Cassin, Jean-Frédéric Chevallier, Divya Dwivedi, André Éric Létourneau, Shaj Mohan and Patrice Maniglier moderator Marc Hatzfeld translator Boro Baske
… words of thanks
by Kaoru Miyamoto (Director-General of The Japan Foundation, New Delhi) and Dorine Julien (Production Manager of Les Pas Perdus, Marseille) translation by Boro Baske
THE IMPROBABLE JOY part 1 diner for 300
diner cook under the direction of Buddhadev Dastracks
THE IMPROBABLE JOY part 2 multi-cultural dance-party
music tracks chosen by Trimukhi Platform
On 31st January 2018, 7 pm, at Alliance Française du Bengale as part of the French programme at Kolkata Book fair
WHAT GLOBAL ART MIGHT LOOK LIKE
I didn’t expect what I found in Borotalpada Santhal village during Night of Theatre 9 • La Nuit des Idées. And surprise is the true sign of an experience. Trimukhi Platform is not simply a theatre company; it is the set up for a total experience. It constantly interrogate those who go through it about what they are actually attending to. On the one hand, what I saw in Borotalpada in January 2017 – more specifically the two parts performance Essay on Seasonal Variation in Santhal Society and Try Me Under Water – was very much like what I can see today in Paris best theatre places, like the Théâtre de la Ville in Paris or other national venues: it was contemporary theatre at its best, which means not the live adaptation of a text, but rather a kind of choreography of live audiovisual effects in a real space, using all the elements by which a scene can be produced today, video, sound, performances, voice, sing, lights, etc. What I saw in this small village of West Bengal sustains very well the comparison with performances staged by world famous directors like Castelucci, Marthaler, Pommerat, or Rodrigo Garcia.
There were, however, a few differences. First, it was not staged in a theater room, but at the edge of a village. There is a stage, built by the company, in front of Trimukhi Cultural Centre, but the performance constantly overflows its supposed limits. At one time it appears on the side, and it goes behind the spectators, and then again we have to follow it down to the nearby lake where a screen waited for us in the water. It was impossible to distinguish, eventually, whether small events were or not part of the show. The entire night started playing for us, with us.
But there another, more significant difference. Those young men and women who perform here are not professional actors. They are delegated by the villagers to give this performance. This performance is not aimed at an external audience: it is something people do for themselves. Therefore I wondered: is this theater? Is this theater in the sense I understand it when I’m in Paris. Is not Trimukhi Platform a very subtle machine aimed at producing misunderstandings. Misundersandings in the sense that of course we can all share this experience in its beauty and power. But the place for that experience in our world is not the same. This is not simply a show; it is life continued. And the way it is played confirmed this intuition. Performers don’t try to play at being anyone else; they are exactly what they give us to see. They are young Santhali villagers and true contemporary artists. They belong to (at least) two worlds at the same time, two worlds that precisely communicate at the moment of this performance. In the very confusion in which we all find ourselves at this moment, a common place is cleared. This common place is not the end of everything. It is only the beginning. Starting from this experience, the very question of our differences can now be raised. Those differences don’t preexist to this experience. They only exist as far as we are ready to go in the exploration of this savvy misunderstanding. What is at stake here is the very sense it makes to do theater – and even more generally to experience “art”. The problematic nature of this experience comes to the fore in the question whether we share exactly in the same experience, we, that is: the performers and me, but also the villagers who are here to attend to the performance and who contribute to it if only by welcoming me and the other invitees, but also the people from the nearby town who have come to attend to the show too as well as the spectators who came from Kolkata by bus. This unlikely “we” only exist because of the show. And each part of this “we” now has to redefine itself by the particular way it belongs to this we. No one comes back unaltered from Borotalpada.
Trimukhi Platform is made for that: so that differences be not anymore given borders between already existing groups, but lines of fault that traverse each one of us. In a globalised world, Trimukhi represents an alternative to the standardized devastation of the world. Not because it vindicates the purity of each particularity; Trimukhi does not bother with authentic ethnicity and what it offers, as I have said, could very well exist in Avignon or Wuppertal. But it creates a common ground that is not preempted by one interpretation. For this reason we can say it is “global”. The global is not one and the same reality for everyone. The global is what we have to share and that in which we have to replay our differences. I think I have witnessed maybe for the first time in my life, in the small village of Borotalpada, in West Bengal, what global art of the future might look like.