JUST BEFOREYOU OPEN YOUR EYES2014 ktha compagnie

3.5km/h performance for 1 city, 1 truck and 3 actors

3. a truck / bleachers 4. text 5. extract 6. the performance 9. production / team 10. press extracts 11. technical sheet 12. ktha compagnie 14. contact

JUST BEFOREYOU OPEN YOUR EYES2014 ktha compagnie

3.5km/h performance for 1 city, 1 truck and 3 actors

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a truck/bleachersA truck On the back platform, bleachers The audience settles At the feet of bleachers, three actors, standing The truck advances And the actors follow walking They talk, addressing, Looking right into the eyes of the audience And behind, the city passes by, long cinematographic tracking out When an actor stops, he distances himself, inexorably; he has to run to keep up Every movement takes novel dimensions, a bit strange And from the streets, from the pavements, we see passing the convoy A truck, with a lot of people seated looking behind Three people walking peacefully talking to them And they go by

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textTwo paroles In the first person Two voices coming from the nine minutes between two alarms of the clock Two simultaneous voices that talk about the day coming, the habitual day, the course of everyday, but also breaking this repetition, having the choice, doing as it pleases, That say you a lot That say you know, you remember, you see what I mean, you too, right? That describe the quotidian, subjective, precise, those little things that you do in the morning, when you wake up, like how you do your coffee, like how you brush your teeth, always the same side at first, always, the very little thoughts, the little gestures that you do again and again and that make you you, or you do because you are you, you don’t really know… Two paroles at the same time, for three actors.

They don’t say exactly the same thing, the words are different but it overlaps some-times, it suddenly creates emotions, as if it was an accident It is not an accident, but it’s a little bit like magic still Two voices that are shared by three actors There is always the beauty of habit, the poesy of the life of everyday And the desire of something else, to do differently, harder, crazier, more dangerous To exalt Today Between the two alarms of your clock, to envision those two trajectories…

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extractYou know there is that little moment, that instant when you ask yourself You ask yourself You ask yourself You ask yourself everything You don’t know anything It lasts only an instant, I mean I think, but it leaves traces, you remember You remember You ask yourself What is it What I’m doing What I am Where I am You ask yourself without really waiting for an answer Just I wonder Not really why, Just what And then there’s a sound You know it The same one (…) And you need to look at it to really understand And you read – you know how to read! – Alarm

Alarm The day begins with that word Alarm Every morning Every morning you want to go back to sleep Every morning you want to So you press ‘snooze’ And earn nine minutes (…) When you think about it still it is weird, to think that the first word of the day is alarm. It must well influence the rest, right? It’s not hello, or kiss or I love you that was first told me, it’s alarm. You would tell me it could be worse, it could be death or poor shit or lobotomy, but still, alarm… But maybe you could transform it, tell yourself that it’s just there to say get up, get dressed, fight Alert Come on Alarm

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cinematographic tracking outThe subjective vision of the spectators must be imagined. A long tracking out, uninterrupted, regular in the city. Behind the actors, the city passes by, slowly, a canvas of projection for the imagi-nation of the spectators. The quotidian, the dreams, what the question is about, everything is here, in front of our eyes, passes by, streams. The passerby discover the device only when they overtakes it. And the spectators assist to this repeted discovery. The incomprehension, the strangeness in the stare of the passengers that see a mass of people, seated, looking, listening three actors walking. Each of them look at the others, mirror in front of which each questions them-selves, project themselves. We are together, in a strange act. We are part of the flux, in the center of the city, at the heart of the life, in its move-ment. However, the relation, intimate, between the actors and the spectators is possible. Almost paradoxically, it is the moving, in one block, of actors-spectators, that cre-ates the proximity, that isolates us from the rest that streams behind.

walkingAnd to stay closer to the bleachers, to stay immobile from the spectators’ point of view, they walk. Always. Each stop puts them in movement, distance them. The bodies are rhythmed, put in common by the stride. The displacements are strange, each gesture is measured, choreographed. The precise partition of the bodies echoes to those of voices.

And the breathing…

sound

We talk to each other as in real life. There is no electric recap of the voices of the actors. We talk loud when passing a truck. The proximity between the actors and the spectators allows it. And the side linings carry the sound. Simply, without artifice, nor technical complexity. We are in the world.

addressing

In this alternation of closeness and remoteness, insinuates the continual search to talk to someone, to say, looking into the eyes. The actors always talk to someone. In the continuity of the work of the direct address of the actor to the spectator that the ktha compagnie develops since its beginning, the parole and all representation are directed simply and uniquely towards the spectators seated there. We talk to each other. Looking in each other’s eyes, we address each other directly, frontally, without detour.

TranslationFor its international version, a particular device is set up: Two french-speaking local actors are hired. During the representation, they are in the truck, behind the public. They participate in the representation by directly reading the translated text into microphones in pace with the french actors. Each spectator is equipped with a earphone and listens to, at the same time, the

french text spoken in front of him and the translation coming from the earphone.

translators

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productionCoproduction ktha company, National Center of Street Arts Usines Boinot in Niort, L’abattoir / National Center of Street Arts, Le Boulon - National Center of Street Arts in Vieux Condé, Cooperative De Rue De Cirque (2r2c Paris) and the city of Palaiseau. With the production help of ARCADI Île-de-France.

With the support of the French Minister of culture (DGCA), of DRAC Île-de-France, and of the City Hall of Paris. Action financed by the Region Île-de-France.

With the help of the workshop HYH Creations(St-Pierre-des-Corps), of Moulin Fondu National Center of Street Arts in Noisy-le-Sec, of the Ferme du Buisson- Na-tional Scene Marne-la-Vallée, of Animakt - Saulx-les-Chartreux and of Nil Obstrat (Saint-Ouen l’Aumône).

teamA performance of the ktha compagnie Chloé Chamulidrat, Michael Ghent, Solenne Keravis, Laetitia Lafforgue, Yann Le Bras, Camille Lévêque, Guillaume Lucas, Lear Packer, Patrice Teysseyre, Nicolas Vercken, Mathilde Wahm. With the help of Achil, Yanosh Hrdy, Roi Joan Jimenez and Severine Rovel....

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press extractsThree comedians that wander on the road, spectators settled on the bleachers in the back of a rolling truck: Just before you open your eyes offers a real street perfor-mance and a subtle reflection on the world that surrounds us. (…) With the theme of waking-up, the performance invites us to reflect, with precision and not without humor, upon the meaning that each of us gives to our existence, the difficulty of be-ing oneself and free in a world of artifices. Le Journal de Saône-et-Loire

What does happen in the morning, in our mind, our heart, and our body, during the nine minutes that separate the first and the second wake-up calls of our cell-phones? Those nine minutes, that cottony instant when everything is possible, are evoked by three excellent actors to a milimetered and subtle play. The mise en scène is wonderful. Sud-Ouest

Discovered at the last festival Chalon dans la rue, this new opus of Nicolas Vercken and Lear Packer imposes already as one of the notable creations of the next years. Télérama Sortir

This reality is here, powerful. We unhook a bit of text by moments, seized by the Parisian flux, but we come back to it the fastest possible because we don’t want to lose even a bit. This proffered text, the game, the direct address, all contend/com-pete to suspend the time and the space – we are in a bubble, protected, embarked, with them, by them. La Sentinelle

The ktha compagnie suggests a journey in the travelling form at the back of a truck followed by three actors that look in the eyes of their spectators, like a bubble of theater on a trip in the city. Arte Journal

3,70 M

10,20 M

4,30 M

12,60 M

128,

524

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technical SheetPerformance

Device: truck 19T rolling in the city Limit: 40/46 spectators (possibility of two disabled seats – particular setup to preview) Duration: ≈ 45 minutes Team: three actors, one director/manager, one driver/manager Transport: preview from Paris + A/R Hendaye-Paris for the driver Time of montage: 4 hours Time of dismounting: 3 hours

Description of the truck

Model: Renault Premium Driver’s number: DB-819-PT Height: 3,70 meters/ 4,30 meters in performing setup Length: 10,20meters / 12,60 meters in performing set up Width: 2,50 meters Weight max.: 19 tons

Contact of the driver: Patrice Teysseyre, +33 (0)6 30 79 22 42, patriceteysseyre@gmail.com

Pollution

The device as a whole spends less than a liter of diesel for each representation. No other energy consumption is needed, which makes it, despite its appearance, more ecological than the majority of performances.

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ktha compagniektha compagnie is a theater company. Its spectacles are sometimes played in theaters, but most frequently elsewhere in the city. The actors address the spectators, by looking them into their eyes, directly, without detour. There are often projections and computers in the scenographic devices. In addition to the performances, the company organizes stages, workshops, laboratories, instal-lations, expositions… Since a few years ago, the company explores also the city through collective projects that concern urbanism, plastic arts... Since 2009, it confronts its work regularly to other cultures, other languages and other contexts. These last few years, the company directed projects in Europe, Chili, Canada, Brazil, South Korea, and Morocco…

To take an implicated, activist, and curious perspective on the world that surrounds us and to try to share and sharpen it by exchange.

ktha exists since 2000. It is subsidized by the city hall of Paris, supported by the region Ile-de-France, member of the collective of companies 360, of the syndicate Synavi and of the cooperative 2r2c.For the last few years

ktha was supported by others including:• The city hall of Paris • French Institut • The Region Île-de-France • DRAC Île-de-France • The Parc of la Villette (Paris) • The French ministry of Culture and Communication - DICRéAM / DGCA • The city halls of the 11ème, 13ème, 18ème and 20ème arrondissements (Paris) • EnCourS – KompleXKapharnaüM (Villeurbanne) • Le Collectif 12 (Mantes-la-Jolie) • Espace Périphérique (Paris) • Le Festival Teatro Container de Valparaiso (Chili) • Les Escales Improbables de Montréal (Canada) • The embassies of France in Chili, in Canada, in Morocco and in South Korea • Le Parapluie - CNAR (Aurillac) • Festival Châlon dans la Rue (Châlon-sur-saône) • Art’R (Paris) • Le Monfort (Paris) • Confluences (Paris) • 2r2c (Cooperative of Street and Circus)(Paris) • Festival Gwacheon (South Korea) • Festival Hi Seoul (South Korea)…

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ktha compagnie

2012 : je suis une personne

2009 : est-ce que le monde sait qu’il me parle ? 2008 : Laboratoire nomade d’expérimentation d’écriture théâtrale en milieu urbain

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contact

ktha compagnie 140 rue du faubourg saint-antoine :: 75012 Paris 01 40 19 94 38 :: www.ktha.org :: ktha@ktha.org