Appointment was made in the middle of the afternoon, between two shows. Marie-Claude Pietragalla took over last September with Julien Derouault the artistic direction of the Poc, the performance hall of Alfortville. She is preparing the program for the next season at the Festival Off d’Avignon. She also presents at the Théâtre du Balcon her latest creation, In the loneliness of the cotton fields, a play by Bernard-Marie Koltès which depicts two men in opposition, a dealer and a customer, just before the conflict. A piece that mixes dance and theatre, the hallmark of the company she created 18 years ago, still with Julien Derouault: the body theater. For franceinfo Culture, the choreographer looks back on the relationship with the Festival d’Avignon over the years.
https://www.youtube.com/watch?v=xStLZnuFBOY
Franceinfo: what is your first memory of the Avignon Festival?
Marie-Claude Pietragalla : It was in 1987, I was 24 years old. The Paris Opera had come to present Magnificat, a piece created specifically for the In. At the time, I was a subject – third grade in the hierarchy of Ballet dancers – I was not yet a prima ballerina, but I was lucky that John Neumeier chose me to perform one of the lead roles. I remember that we had had rain, we thought we were going to cancel but in the end we played. It was fabulous, a defining moment in my life. What is also a landmark is the discovery of the Cour d’honneur of the Palais des Papes, this place steeped in history and vibrations. I came a second time the following year under the direction of Rodolphe Nureyev with Raymond.
Were you able to discover the Off on this occasion?
Yes, I was surprised by the excitement in the streets. At the Opera, we were privileged, in a very supervised institution. I was amazed to see the difference between the In and the Off, to see the artists towing to find their audience themselves. It was surprising, almost surreal. Like a return to the time of Molière, we take the trailer and we do everything. The artists also take care of the staging, the light… this is the job of the mountebank. I also loved discovering the alleys, the surprising and unusual places. But our visits were still limited. As part of the Paris Opera tours, we had to be careful not to walk all day. The rhythm was sustained, we rehearsed in the afternoon.
And today ? What experience do you have of the festival?
Today, I come with several hats. First as a producer and choreographer and that changes everything. Our company le Théâtre du corps ensures the production of its shows itself. There are financial risks, we can’t be seasoned with this kind of thing, we are always worried, it’s logical. That said, we are very happy because In the loneliness of the cotton fields was full from the first. The public is at the rendezvous, people are overwhelmed by the interpretation of the two dancers – Julien Derouault and Dexter-Pierre Belleka – and the magnificent text of Bernard-Marie Koltès. It’s always gratifying to see that the public adheres to this proposal.
I also come as a programmer, to see shows and prepare for the 2023-2024 season of Poc in Alfortville. I am looking for dance as well as music, theater or even clown shows. I don’t like to say that I shop, I have too much respect for artists. I try to find surprising and unique pieces.
How do you view the Festival d’Avignon?
We cannot ignore the philosophy of the creator of the festival. Jean Vilar’s ambition was to introduce classical texts to people who had never come to the theatre. It was an artistic and political will. Entertainment, culture and art for all. That’s the benchmark for me. I think the In has moved away from this consideration a bit.
What would you like for the Off?
There are more than 1,500 shows on the program this year, which is fantastic. The festival attracts artists and producers from all over the world. We have very direct relationships with the public. But it is also a kind of transfer window which can be difficult for companies to live with.
I would like there to be special attention for artists, so that they can present their work in good conditions. When you play in institutions like the Théâtre du Chêne Noir or the Théâtre du Balcon, there are beautiful sets but there are also very small places where the companies lack time and technical means. When you know the difficulty and the requirement it takes to create a show, it’s frustrating. Perhaps it would be necessary to make a choice among the 1500 shows, to select and host in optimum conditions.
“In the solitude of the cotton fields” Cie Théâtre du corps, at the Balcon theater (84 rue Guillaume Puy, in Avignon). Until July 30, at 10 p.m. No class on July 12, 19 and 26.
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