by Emmanuel Demarcy-Mota
Artistic director, Theatre de la Ville, Paris
Translation and Introduction by Paul Ben-Itzak
(Translator/editor’s note: While the Theatre de la Ville furnished the Dance Insider & Arts Voyager with a copy of Emmanuel Demarcy-Mota’s statement in the original French, what follows is a journalistic, and not official, translation, as the English text was not coordinated with the Theatre de la Ville. Demarcy-Mota’s stance here is striking in both a global and historic context. In the first realm, whereas “Dance NYC,” which should get the Bessie award for “Least Effective and Most Out of Touch Arts Lobbying Organization in the United States,” is now making the ludicrous claim that “dancers are necessary workers,” putting them on the same level, essential worker-wise, as health and food workers (exactly the kind of insulated naval-gazing thinking that makes dance be treated less serioiusly in the U.S. than in Europe), EDM has a more global, less self-interested, au-dela de sa propre nombril perspective. And in the historic context, and given that French president Emmanuel Macron has likened the battle against the pandemic to “a war,” it’s no accident that Sarah Bernhardt, in whose former stomping-ground the Theater de la Ville EDM directs is based, turned her own lavish home into a MASH unit during the Prussian siege of Paris of 1870 — herself volunteering as a nurse.)
Five propositions imagined with an ensemble of players from the domains of Health, Culture, Education, and Justice.
Four temporalities whose rhythm has been determined by the epidemic: the confinement, the deconfinement, the coming season and the Day After. Four pillars to put in place: Culture, Health, Education, Justice.
Health has been our absolute priority these past few months. Culture is our absolute priority at this moment that we emerge from confinement.
Our country, certainly attenuated but profoundly modified, has a strong desire to reconstruct itself with a view to creating a different kind of world where the idea of solidarity is at the heart of the debate.
In order for our society to recover its strength, we would like to propose a new model able to bring together the arts, science, and education with, as its corner-stone, the union between health and culture.
We wanted to bring together an ensemble of allies from the fields of health, justice, education, and the arts to create a new space for dialogue and coordinate new actions.
Together we are founding “Tenir Parole” (Keeping our Word), a new alliance of leaders from different realms who share a common desire to stimulate and propel a new approach to imagination.
We will strive for the emergence of new forms of solidarity in relying on our capacity to think together. We will work against frontiers, whether they be of the physical or mental variety or between disciplines or human beings.
We will create a proximity and an amity to traverse this unprecedented period of history together.
“Tenir parole” (Keeping our Word) is a way to infuse power in the imagination, to incarnate a convergence of visions, to stimulate the manifestation of life and give hope.
Rather than allow an uncertain present to be imposed upon us, we want to invent desirable tomorrows. Thus, at the end of this tempest, if we’ve “kept our word,” we will have learned, reflected, exchanged, and created.
One Calendar, Five propositions
The Troupe of the Imaginary
Created during the confinement and engaged amidst poetic and scientific consultations, the troupe brings together at this stage more than 50 people from various horizons: the actors of the Theatre de la Ville troupe, joined by young Italian, Senegalese, Egyptian, Cameroonian, Central-African, Congolese, Taiwanese, and French actors, as well as by scientists associated with the project: the neurosurgeons Carine Karachi and Hayat Belait; the neurology professor David Grabli; biologist Marie-Christine Maurel; biologist and philosopher Georges Chapouthier; physician Kamil Fadel; architect Denis Laming; and astrophysicist Jean Audouze.
Together, we have developed, in order to be able to act from the moment confinement began (March 15 in France), invent alternative ways of creating, maintain a link with the population and combat individual isolation, “poetic and scientific consultations by telephone,” which have already reached nearly 5,000 people across France and beyond.
The consultations have been offered in 15 languages: Seven European languages (French, Greek, English, Spanish, Portuguese, Italian, and German), six languages spoken on the African continent (Wolof, Beti, Lingala, Sango, Congo, and Pidgin) and also in Arab and Mandarin. “The troupe of the Imaginary” will develop new actions and continue its consultations in the months to come.
Dancers, musicians, and historians, partnering with the Rectorate of Paris, are joining this team beginning May 18 to suggest new forms of consultations.
The European Encounters of May-June
Meetings will be held starting the week of May 18. In rapport with the evolution of the deconfinement, they can be held by distance and bring together the world of culture — public and private — as well as those of health, justice, and education.
The emergence from confinement as a moment to learn together is the occasion to create bridges, to propose a new model which brings people together to co-construct perspectives on a common future. Because ignorance is also a form of confinement and it is through knowledge that we must find the emergency exit that will enable us to escape from asphyxia.
At the hour when we must all construct the 2020s, let us make our theaters the place for a community gathering, the reflection of our social commitments and of our will for esperance. Let us build a new Europe, a Europe of culture but also of sciences, of the environment and of young people.
Open-air artistic propositions beginning in June
The cultural world must now support the care-givers, the care-receivers, the confined. This is the moment to experiment, test, invent.
We will be allying ourselves with the doctors of the Salpêtrière Hospital and with the Rectorate of the City of Paris to initiate the first experiments, artistic manifestations to be held outdoors and in different spaces around Paris. Performances, readings, concerts, testimonials by the caregivers, actions for the sick, film screenings and art installations will be proposed in unexpected places: from the gardens of the Champs-Élysées to those of the Salpêtrière, not forgetting the parks, retirement homes, elementary schools, and high-school courtyards.
These propositions must be geared towards the population in its entirety and inscribe themselves in the continuity of our art education programs and of our commitment to re-inventing a place for the arts in schools.
“The troupe of the Imaginary,” with the ensemble of 50 actors, scientists, dancers, and musicians who constitute it will be fully mobilized from the end of May and throughout the Summer.
The Academy of Health and Culture
In connection with the program “Charter 18XX1 – Turning 18 in the 21st Century,” a new academy centering on health and culture will be launched to work with young people and recreate ties with the experienced of the older members of our society. Encounters around art and science will take place during the month of August, and can be open to the public.
For the first time in its history, the Theatre de la Ville’s spaces will be open all Summer:
* At l’Espace Cardin, in partnership with the doctors of Salpêtrière Hospital, young artists and young care-givers will work to elaborate projects which can be prolonged this fall on themes linked notably to movement: “Normality and abnormality,” “Liberty of movement, Liberty of thought.”
* At the Theatre des Abbesses [in Montmartre] ateliers on the practice of dance and theater will be offered, free and open to the public of all ages. This new project is inscribed in a partnership with the city of Paris and can include European partners, to trace new perspectives together and share our desire for a theater without borders.
* A 2020/21 season of solidarity and re-invention: Today, we need to deconstruct our seasons to be able to reconstruct them in another fashion, in imagining many potential scenarios. Together, we are ready to adapt, to re-invent, to re-assess our different propositions to amplify the occasions for solidarity with the artists, the health milieu, the worlds of education and justice and also our European and African friends and partners.
* Scenario #1 incorporates the obligation for physical social distancing as health regulations evolve, leading us to drastically reduce our capacity to accommodate the public in our theaters.
* Scenario #2 adds to this the absence of all international theater, dance, and music companies outside Europe, the frontiers outside the European member states remaining closed.
* Scenario #3 includes the absence of European as well as extra-European companies, who combined represent more than 50% of the planned programming at the Theatre de la Ville and the city-wide Festival D’Automne between this September and December. Under this scenario, we will only be able to welcome companies situated on the national territory.
Whichever scenario comes to pass, nothing will be, nothing can be, like before. So why not transform these obstacles into a new challenge? After months of strict confinement, we now need to push back the walls, quench our thirst for creation, for bodies and movements, for encounters with the population. We will mobilize artists and those from other disciplines to invent innovative propositions which rely on our capacity to imagine together. Next season we will go into the hospitals, the elementary and middle schools, the high schools, the parks and the gardens, the stadiums if need be.
In the theaters, we will invent unprecedented subterfuges, adapted parcourses and real artistic propositions in dance, in music, and in theater which turn sanitary restrictions into the stipulations for a new imaginary, and we will find the pathways to economic viability. If the virus has felled a number of our fellow citizens, we will take back the edge on the terrains of the imagination and of thought, of sharing and of solidarity.
The Day After
If we have collectively been able to invent new spaces and new forms, to experiment with new ways of being and making, to create dialogues between the ensemble of the arts, the sciences, and different domains of thought and of the economy, we would now attempt to erect new foundations for the future.
It is the moment to consider that this epidemic is also a factor in the acceleration of our choices and of our commitments. Today, we must imagine a Day After which will be comprised of a new reflection on a planet that will be durable and solidary. Today, we need to keep our word.
May 13, 2020
We would like to extend our thanks to all those who have committed themselves with us and to those who will do so in the future.