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The Tempest Theatre’s “Nora, Nora, Nora!” transformation of a woman

By b0oua Mar 5, 2024
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Critical analysis Elsa Granat, who draws inspiration from the play “Une maison de poupée,” orchestrates the encounter between Nora, the protagonist of Henrik Ibsen’s play, and a group of young comedians.

She also offers a contemporary perspective on femininity through the use of a rewriting that is both lively and acerbic. From now until the 31st of March, you can discover the theater of the storm.

Alongside her partner Laure Grisinger, Elsa Granat had already left a mark on us with her plays “Le Massacre of the Spring” in 2017 and “King Lear Syndrome” in 2022. Both of these plays posed questions about the significance of patriarchy, its inheritance, and the manner in which women could or might not be able to liberate themselves. She subjugates us once more by addressing this time one of the masterworks of Henrik Ibsen (1828-1906), titled “Une maison de poupée.” She does it in a very personal way, interweaving the piece that was written in 1879 with a reflection on the feminism that is occurring at the time of the #MeToo movement.

For the purpose of this audacious and successful adventure, she has enlisted the participation of fourteen young actors, all of them are graduates of the Esad (École supérieure d’art dramatique de Paris), who respectively play seven different characters. It is necessary for all of them to be cited because they are able to manifest themselves with a resonant energy and a profound maturity of this drama that was set in the nineteenth century in order to better transcend it and bring their own point of view to the children of the twentieth century. Not only are they accompanied by two actresses who are in their seventies but are not professionals, but they also provide a generational contrast that is just.

Maëlys Certenais, Antoine Chicaud, Hélène Clech, Victor Hugo Dos Santos Pereira, Niels Herzhaft, Chloé Hollandre, Juliette Launay, Anna Longvixay, Clémence Pillaud, Luc Roca, Lucile Roche, Clément-Amadou Sall, Juliette Smadja, and two amateur actresses are selected to perform in alternating fashion. The dramaturgy conducted by Gisèle Antheaume and Victoria Chabran Director of Assistant Production Laure Grisinger Scenography depicting Zelda Bourquin Lighting made by Suzanne Barbaud The sound of Vera Martins Mathieu Barché holds the position of general manager and set Set management and design on the part of Quentin Maudet The choreographic approach that Sabrina Durbano takes to the tarantella technique Mattia Doto and Tullia Conte are responsible for manufacturing, administration, and development. Distribution of La Kabane was handled by Agathe Perrault, with assistance from Sarah Baranes. The press of Camille Bard At La Strada & Cies, Catherine Guizard and Nadège Auvray are the authors.

production by Compagnie Tout Un Ciel, ESAD, the integration fund for young actors of ESAD – PSPBB, with the support of the Théâtre de la Cité Internationale, the city of Paris, and the Théâtre de la Tempête in co-production with the Théâtre de la Tempête. Compagnie Tout Un Ciel has been granted permission to operate by the DRAC Ile-de-France. Elsa Granat is a member of the La Kabane artists’ house in addition to being an associated artist at the Théâtre des Ilets – CDN in Montluçon and the Théâtre de l’Union – CDN in Limousin. Both of these theaters are located in the city of Limousin.

In the year 2024, when new actresses and actors look at A Doll’s House, a play written by Ibsen in the year 1879, the questions come flooding in, and it tugs everywhere. How was it possible for Nora to accept her fate and then renounce her children? What is the reason for this sacrifice? All this for a story about a signature that was not genuine! In what way can we set Nora free today?

Should we continue to view it as submissive, a stance that we are familiar with and have committed to memory? Following her experience with King Lear Syndrome, Elsa Granat transforms into an archaeologist in order to reverse the process of Nora’s character being destroyed. As a means of providing the fiction with sustenance, she will investigate the offspring of the protagonist, who is now an elderly person.

Without providing an explanation, there is no possibility that they will take care of the person who abandoned them without prior warning. Nevertheless, by looking into his history, people will possibly be able to comprehend what things could not have been uttered.

Under the direction of Elsa Granat, these young performers who have recently graduated from the Higher School of Dramatic Art will practically disassemble and then rewild Ibsen’s play. This will give us the opportunity to finally get a glimpse of the depths of Nora’s soul and her drive to achieve success.

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