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De celle qui occupe la scène, on ne connaitra pas le nom. Elle se tient là, face au public, dans un décor minimal permettant de se concentrer sur l’exigence du texte. Un système de parois coulissantes ferme le fond de la scène. Il sera activé un peu plus tard lorsqu’il s’agira d’ouvrir les couloirs du temps. Seule une rangée de quelques sièges occupe le reste du plateau côté jardin. Ils rappellent ceux d’une gare, d’un aéroport, celui dans lequel elle rencontre l’homme qui deviendra son mari, dans une file d’attente à la durée interminable. Elle partait en voyage pour fuir un travail médiocre. « Je ne savais plus ce que j’allais foutre de ma vie et j’étais tout simplement incapable d’imaginer de me mettre à chercher un boulot de merde de plus » dit-elle. Le hasard avait guidé ses pas jusque dans cet aéroport italien mais qui pourrait être n’importe où. Il est architecte. Elle précise qu’il lui a tout de suite déplu. Elle raconte le coup de foudre, le couple qui très vite se forme, les projets en commun, le bonheur, la naissance d’un premier enfant, une fille, puis d’un second, un garçon. Et puis, peu à peu, elle fait le récit du délitement de leur relation. Elle a ouvert sa propre agence qui connait assez vite le succès, devient renommée. Il reste dormir de plus en plus régulièrement au bureau jusqu’à bientôt ne plus rentrer chez eux. Elle lui dit qu’elle n’est plus heureuse. Il lui répond qu’il s’en fout. Elle lui reproche une liaison présumée qu’il récuse fermement, l’air stupéfié. Non, ce n’est pas de cela qu’il s’agit. Une autre raison précipite la fin d’un amour miné par les doutes. Au détour d’une remarque sarcastique qu’il lui assène, elle prend conscience, effarée, de ce qui fait l’échec de leur couple, les ambitions professionnelles. L’homme, jaloux du succès professionnel de sa femme, entraine sa propre entreprise dans la faillite. C’est le début d’une descente aux enfers qui ne s’achèvera que dans l’horreur la plus effroyable faite à une mère.

"You won't take me my children"

She leaves him, amazed, tells him that she leaves with their offspring. "You won't take me my children"l’avait-il alors averti.She will later remember this monstrous sentence, too late.She finds an apartment, set up quickly, rebuilt a three -way home.The weeks then the months go by without it manifesting itself, neither with her, nor with children.However, she told him the sharing of the guard, invited him several times to see them.She does not want to deprive them of their father.On stage, a mother calls her children who do not answer.She warns the spectators that they can now go out at any time, enjoining them to keep in mind that what is going to follow is not happening here and now.She slowly slides the door that closes on the room and begins the story that she wants as objective, factual and necessary of the unthinkable, the day when, for her, humanity has switched to the edge of the abyss.She indicates that they were killed with hunting knives.The boy first, suddenly in his sleep.He did not see his father, apparently did not suffer.In all likelihood, the girl entered the room when her father took the life of her little brother.The assassin pursues her, striking her eight stabs before cutting her throat.The mother names the organs struck by designating them on her own body.She specifies that he did not kill the dog.Information, at first glance derisory and absurd, actually reveals that the animal is the only living being connecting the mother to her deceased children.After his act, which marks an absolute point of no return, the father takes a shower.He does not know how to explain the twenty-three minutes following.Neither the mother nor the public will know what is going on in the apartment.What is he doing ?It’s long twenty-three minutes, especially near the still hot corpses of her children.He then goes out on the balcony, throws himself into the void of a height of four floors.He survives. "You won't take me my children", la phrase résonne dans la tête de la mère, cogne contre ses tempes.Filicide, the mother tells us that this is how we call the inexpressible.The term hitherto unknown to most spectators, defined the deliberate act of a parent to kill his own children, designating both the act and its author.She specifies the infernal cadence: one every ten days.The assassins are almost always men, "just dads" she specifies.Silence at that time is stunning.

Monstrous masculinity

That is interesting, you all counted each and Every one of those minutes, in English….This seventh day adventist g… https: // t.CO/H4DH0DE44B

— kelly lee gibson Tue Feb 05 22:04:00 +0000 2019

The actress and director Chloé Dabert, in the direction of the comedy of Reims since January 2019, signs with "Girls and Boys" her first creation at the head of the Champagne institution, carried at arm's length by the amazing BénédicteCerutti, an unshakable woman who gathering her memories, tries to get out of the night.This monologue denounces the violence of liberal society at the same time as male domination in a frontality which leaves no escape possible to the public, is the third text of the British playwright Dennis Kelly that Dabert creates, after "orphans" in Lorient in 2013 and"The ritual slaughter of Gorges Mastromas" in Angers in 2017, already with Bénédicte Cerutti.Remarkable screenwriter also working for television and cinema, Kelly is permeated by English culture, from Samuel Beckett to Martin Crimp.His theater with rhythmic writing, very punctuated, formally demanding, addresses the central questions of contemporary society, with the distance specific to English humor, and by sporting several levels of reading.The author manipulates, launches false tracks to better keep the spectators in suspense and lead them to an unexpected event, a shock.Thus, the lightness and the joy of the beginning soon fade in the nightmare, the inexpressible.Humor fades in front of the meticulous, cold, surgical description of the crime scene.Laughter stops clear, replaced by stifling silence."I will tell you what it really is.These are control or loss of control, "she says before clarifying that he was killed in her cell with a plastic razor."I never thought about him again," she concludes.No ogre here, the incredible horror act is inherent in humanity.This banality of evil reminds us of the most horrible way what patriarchy, systemic and globalized, does to beings, couples, families, those who seem happy, emancipated, egalitarian and who do not escape the rule.Ordinary cruelty of human relations is told in terms of the disorders of our society.Behind the sliding doors that close the scene wander the innocent ghosts of male domination.

Girls and Boys - Text Dennis Kelly, staged Chloé Sabert, with Bénédicte Cerutti, translation Philippe le Moine, scenography and video creation Pierre Nouvel, Light creation Nicolas Marie, sound creation Lucas Lelièvre, Creation Costumes Marie La Rocca, General and Régie RégieLight Arno Seghiri, assistantship at the staging Matthieu Heydon.Show created in March 2020 at the Comédie-National Dramatic Center of Reims, Production La Comédie-National Dramatic Center of Reims, with the support of the Centquatre-Paris, Construction Théâtre du Nord-CDN Lille Tourcoing Hauts-de-France. La pièce Girls & boys de Dennis Kelly (traduction de Philippe Le Moine) est publiée et représentée par L'arche, éditeur et agence théâtrale.

From January 4 to 30, 2022 at 8:30 p.m.,

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