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#adele haenel
aviel · 3 hours ago
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Adèle Haenel by Julien T. Hamon
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lusaaadari · 23 hours ago
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cheeseandbeans · 3 days ago
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i finally watched ammonite
it was trash and i could NOT finish it but here are some letterboxd reviews that really hit the nail on the head and made it almost worth it
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minch-makes-stills · 3 days ago
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Portrait de la jeune fille en feu (2019) dir. Céline Sciamma
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minch-makes-stills · 3 days ago
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Portrait de la jeune fille en feu (2019) dir. Céline Sciamma
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mlleclaudine · 4 days ago
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by beansblanchett: #adelehaenel
50mins
Oil pastel on paper
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empressofkalumina · 4 days ago
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Ways to sit...
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mlleclaudine · 4 days ago
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Adèle Haenel plongée dans la nuit d’«Etang»
by Ève Beauvallet - Libération, May 10, 2021
Long awaited, Gisèle Vienne's show with the actress and Ruth Vega Fernandez pushes the spectator to venture into a realm of ambiguity, to question their perceptions and to confront the taboo of incest.
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In the very heart of the dream within the dream, in the basement of the subconscious, where three seconds seem to last thirty years, there is a large room with a black double-bottomed cupboard.  Behind the door of the cupboard, a small secret box waits to be opened.  We’re inside it.  Here, the whiteness and the emptiness project an unconstrained and blinding light.  Air molecules lack their usual gravity.  The sound is deranged, with some words creating a crazy reverb.  People speak at normal speed but their bodies seem to move through a dense material like quicksand.  This «white cube» is beautiful and frightening, containing a full scale model of a teenager's bedroom.  We must be somewhere in the 90's, since Adele Haenel, in the box, is wearing a Sergio Tacchini tracksuit, a Fila sweatshirt and listening to hardcore techno in the Dutch gabber style.  She looks totally stoned.  And the spectator must be, too, since he has probably landed in her brain at the height of its activity, a fantasy box that stinks of hash and ether, and that tries to remember a key episode.  The lock is hard to find: in which stratum of the past could we have fallen?  Is the story we’re told in the white box a fantasy, a fiction, a dream or reality?  Is Fritz/Adèle, the teenager, an abused child?  Or is he just a liar?  Look at him, this freak, he comes when he thinks of his sister.  And then he pretends to kill himself to test the extent of his mother’s love.  Is it the mother, by the way, this firebomb, this Hollywood brunette, the actress Ruth Vega Fernandez, who slowly revolves around Fritz like a satellite?  Unless it’s the sister, or even...  Adèle Haenel looks at the movie creature slowly advancing towards her, finally recognizes it, frightened: "But, is that the father talking?!"
NEGLECTED REALM
In L'Etang, probably the most anticipated play of the last season, and hindered by circumstances we’re all too familiar with, ghosts love to disguise themselves.  Unless it’s more the collective psyche, that of an entire society, which persists in pasting masks onto them to better conceal them.  Our propensity to cover up shit, and the conditions that come together so that it finally emerges, are precisely the subject of this show, shimmering like a Haribo candy and violent as a shot.  They especially inspire its very playful form, in which sounds, colors, the speed of movements and the trajectory of words go haywire to mimic the mechanisms of perception.  The short-circuit produces one of the most intense and sophisticated works of its creator, Gisèle Vienne, the director, choreographer, and bizarre puppeteer - to whom the Festival d'automne, in Paris, will dedicate a large portrait in September - who for years has been keeping watch over a somewhat neglected fantastic realm, that of ambiguity and gray areas, of perversions and unseemly desires.
In cinema, this realm has a chilling ruler, Michael Haneke.  The polar frigidness of his camera is nothing like Gisèle Vienne’s horrific baroque, but the issues he raised in Caché (2005) weren’t far removed from those in L’Etang (2005): a film that dealt with a national taboo - not incest but the massacre of Algerians in France in 1961 - but, as its title indicated, was also first and foremost about the gaze.  In the manner of a game of cat-and-mouse between author, actors, spectators, voyeurs, it was presented to us as a device of concealment and revelation.  There is another reference that Gisèle Vienne seems to pay homage to here, one written by Romeo Castellucci, another master of the realm, on the theater side this time.  Those who were lucky enough to see the traumatizing and sublimely beautiful Purgatorio (2008) will surely be reminded of what is still the greatest masterpiece on incest (unfortunately never cited these days on the subject).  The Italian director raised the issue of forgiveness - «The unbearable thing is that the victim is able to forgive the abuser», he wrote.  He played especially on the dissociation between the actions visible on stage in the small kammerspiel and the terrifying ones hidden behind the scenes.
HAMMER ICONOGRAPHY
With L'Etang, Gisèle Vienne establishes herself in this territory, honoring her reminiscences of pulp cinema and Hammer iconography.  In the play, Adèle Haenel and Ruth Vega Fernandez follow a very technical score.  They embody, play, metamorphose or fantasize several voices from the same family - which required them to intensely study ventriloquism, the art of skilled dissociation that the director has often put to use in small deranged tales like Jerk, her traumatizing "hit" written with writer Denis Cooper.  The characters are both hyper-realistic - the teenager's phrasing is quite contemporary - and abstract, moving in extreme slow motion.  On the nightmarishly white stage, the two actresses urge us to look underneath the masks, but they also invite us to look behind the text.  Because L'Etang is adapted from a little-known work of fiction by Robert Walser.  But the play actually articulates it in two subtexts, produced almost a century apart.
The first is the intriguing destiny of the dramatic text L’Etang, likely written in 1902, which was never intended to be published, let alone staged.  It was a private work, in the form of a play, that Swiss writer Robert Walser wrote for his sister Fanny, for whom he would always have played the role of storyteller.  She only revealed L’Etang long after his death.  «This play, which is perhaps not a play, explains Gisèle Vienne in her introductory note, seems to me rather like the urgency of a speech that is too difficult to express in another form.»  Some were also surprised that it was the only text that Robert Walser had written in Swiss-German dialect.  It is said to be an encrypted text about a son, Franz, who fakes his suicide in order to win over his mother, and which scholars on Walser's body of work have interpreted as a reference to the taboo of incest.  The «real» mother, on the other hand, was depressive, dying when the writer was only 16 years old.
NESTING DOLLS
The second subtext is that of the behind-the-scenes of the show.  Gisèle Vienne began working on L’Etang in 2016, with actress Kerstin Daley Baradel.  Two years later, Adèle Haenel joined the project - an «extremely important artistic encounter for both of us, and the beginning of a long collaboration, we hope», says Gisèle Vienne.  In July 2019, the «dear friend and collaborator» Kerstin died prematurely.  A few more months later and Adèle Haenel, by means of a testimony that was relayed worldwide, decided to throw open a small box that had long been kept closed, denouncing in Mediapart the sexual assaults she had allegedly suffered from the director of her first film, and called for exposure of the power structure and the mechanisms of patriarchy.  Then, at the end of 2020, while L'Etang was still being postponed, another sister revealed to the public a secret from which her brother had not been able to free himself.  Camille Kouchner published La Familia Grande and forced an entire society to examine its darkest corners for the demon that was devouring it.  The play was finally performed for the first time in public last week in the stronghold of producer Vincent Baudriller (Théâtre Vidy-Lausanne), who had introduced Romeo Castellucci and Gisèle Vienne to the general public when he was co-director of the Festival d’Avignon.  And so it was that a key launched at the beginning of the 20th century seemed to finally find its lock in 2021.  As if Gisèle Vienne's show had been waiting for an intertextuality or a context to complete its form of square nesting dolls.  One of them seemed to challenge us, as French theaters prepare to reopen: in fact, what kind of shows did we or did we not miss?  What kind of theater pushes us to really see things as they are?
L'ÉTANG de GISÈLE VIENNE adapted from Robert Walser, June 15 and 16 in Douai, June 23 to 25 in Grenoble, July 5 and 6 in Reims, July 8 and 9 in Nancy, September 8 to 18 in Paris as part of the Festival d'automne (then on tour).
[Please don’t repost this anywhere, in part or in whole.  Feel free to reblog, or at least cite your source and provide a link back here.  Asking permission would be nice in an ideal world, but I’m a realist - I know far too well how easy it is to appropriate stuff on Tumblr.  I would be the first to admit that my translations are not perfect - there  are some words and phrases that simply do not drop neatly into an equivalent in English, and I constantly fix typos and make changes or corrections in older posts - but they do take a lot of work and time.  Thanks for understanding. - C.]
h/t a bunch of people who either sent me this article or requested a translation :D
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minch-makes-stills · 5 days ago
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Portrait de la jeune fille en feu (2019) dir. Céline Sciamma
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minch-makes-stills · 5 days ago
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Portrait de la jeune fille en feu (2019) dir. Céline Sciamma
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mlleclaudine · 6 days ago
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«L’expérience offerte par une œuvre d’art devrait être centrale»
by Natacha Rossel - 24 Heures, May 3, 2021
The critically acclaimed actress, the face of the MeToo movement, granted an exclusive interview to «24 heures» before her appearance at Théâtre de Vidy in «L'Étang».
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On the other end of the phone, Adèle Haenel strings together words and ideas in a frenetic rhythm.  A prodigious actress, the face of the MeToo movement, an activist in the fight against the patriarchy - notably during her stunning outburst at the 2020 César Awards -, the 32-year-old Frenchwoman agreed to an exclusive interview with «24 heures» before her arrival at Théâtre de Vidy.  In accordance with her wishes, our discussion revolved around her profession as an actress, the place of art in society and her meeting with choreographer and director Gisèle Vienne, who directs her in «L'Étang», a little-known play by the Biel-based writer Robert Walser.  Alongside Ruth Vega Fernandez, Adèle Haenel carries this «ten-voice monologue», a troubled work, full of unspoken words and silences, whose interpretations nestle in the interstices.
The general public knows you more for your roles on the big screen.  Why did you feel the need to return to the stage?
It's first and foremost all about the meeting.  I met Gisèle Vienne when I was on the jury for an entrance exam to the École du théâtre de Bretagne.  Gisèle was giving a workshop, and I was asked to participate in it.  Discovering her work and her œuvre had a huge impact on me.  So I wrote to her about my desire to work with her.  At the time, she was preparing the development of «L'Étang» and she suggested I audition for the role.
Does theater give you something that you don't find in cinema?
What I like about theater is the endeavor of experimentation and research, the opportunity to make visible what was invisible.  For an actor's work, the main difference between theater and cinema is in the concept of rhythm.  After all, in cinema, the tools of framing, cutting and editing allow the recreation of a rhythm ex nihilo, the director's own rhythm.  In theater, these tools don’t exist, the actors are in charge of their rhythm, that is to say of their interpretations of their feelings through gestures and words according to a certain tempo.
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Are you apprehensive about being in front of an audience?
I think I have the same stage fright that a lot of people do, it's always intimidating to go on stage.  Given the context, I am extremely happy to be able to act and interact with the public.  We understand the importance of this moment at a time when we feel very weakened by the priorities promoted by the French government.  For me, the question of what is «essential» erases the main issue at stake, which is: essential to what?   Because then the question becomes a mirror of the government’s ambitions, priorities and visions.  According to the French government’s productivist point of view, everything that pertains to experience, to sensation, is not essential.  It’s not essential for you to be fully alive, it’s enough that you’re merely productive.  However, if you’re trying to explore all that a life can mean, including what you don’t know and what you have yet to create, in my opinion it’s essential to have a relationship with art.  It’s also essential, if you’re seeking the good life, to have a relationship with others, to be able to share emotions.
You’ve performed Chekhov, von Mayenburg, Pinter.  What moved you in this text by Robert Walser?
I didn't know Walser.  At first I was confused, I really didn't understand what the text was about.  I trusted Gisèle completely.  She has a way of articulating a vision of a text with her own tools, which allow you to see what you hadn’t seen or what’s been ignored.  She manages to stage this with the tools that are the strength of her work, such as the distortion of space and time and discussion about the capacity of the body.  What moved me was the opportunity to bring out the text and the subtext of this story, about a young boy who fakes his suicide to see if his mother loves him.  Of course, the material of the text was reworked in composing the piece, but we remained faithful to Walser's ideas.
How did the development come about?  How much of it is about words, about movement?
Ruth and I are actors first and foremost.  We did a lot of work on the quality and fluidity of movement.  The distortion of the movement of the body, on the one hand, and of speech, on the other, makes it possible to create spaces that allow new meanings to emerge.  Schematically, the idea is to push these two melodic lines in opposite extremes.  For example, we will associate a very gentle movement with a rough word.  These are the threads that we weave, and this disconnect creates a space in which the rhythmic invention is fascinating.  The piece was created through Gisèle's eyes, but it offers us immense freedom.
What are your criteria for choosing a role?
My main criterion is the director.  Furthermore, I have always tried to make films that don’t convey authoritarian statements of identity.  For me, political scope is very important, and it’s not dissociated from the artistic dimension.  The first political issue of a work is the way in which it will either reaffirm the naturalness of constructed identities, or subvert it.  It is above all a matter of looking at things, of putting them into a unique perspective.
For you, what is the role of art in society?
I believe that the experience of a work of art – but this could also apply to the experience of friendship or celebration, of feeling alive – should be central to a good society.  This should be an aspiration for human beings.  There are many ways to politicize art, but, in my opinion, the main issue is to question the hierarchy of the perceptible and to expose its constructed aspect.  Authority and power are also intrinsic in the way we are supposed to understand what we see.  The strongly imprinted link, which says «You must feel this when you see that», is a way of ordering what must be perceived in what is shown, what must make sense, what is worth looking at and considering, and what is of no interest.  Our perspective is structured, hypnotized by these political questions and this is a central issue of artistic inquiry.
What are your plans for the future?
I did the voice-over for Jean-Gabriel Périot’s new film, a documentary on Didier Eribon’s essay, «Retour à Reims».  And I’m going to continue my collaboration with Gisèle Vienne, I’ll participate in her next creation in the summer of 2022.
[Please don’t repost this anywhere, in part or in whole.  Feel free to reblog, or at least cite your source and provide a link back here.  Asking permission would be nice in an ideal world, but I’m a realist - I know far too well how easy it is to appropriate stuff on Tumblr.  I would be the first to admit that my translations are not perfect - there are some words and phrases that simply do not drop neatly into an equivalent in English, and I constantly fix typos and make changes or corrections in older posts - but they do take a lot of work and time.  Thanks for understanding. - C.]
h/t @thexfridax​ for the text of the article - thanks, Ros!
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mockscreens · 6 days ago
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please like/reblog if you save!
my poalof lockscreens masterlist
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mlleclaudine · 7 days ago
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Au théâtre de Vidy, une immense Adèle Haenel plonge dans "L’Etang"
by Thierry Sartoretti - Radio Télévision Suisse, May 7, 2021
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At Vidy-Lausanne until May 12, "L'Etang" by Swiss writer Robert Walser becomes a powerful portrait of adolescence, directed by Gisèle Vienne and performed by the duo of Adèle Haenel and Ruth Vega Fernandez.  Great theater. 
A cube of white carpet.  At the center, an unmade bed, messy.   An archetype of adolescence with empty wrappers, half-empty bottles and clothes scattered on the floor like a coral reef to protect itself from an ocean of adults.  On this bed, we first see a community of human-sized mannequins.  Motionless, lifeless creatures, removed by a stage technician.  A first shudder at this image between life and death.
Then the duo of actresses arrives.  With movements so slow, so languid, that they seem to exist in a state of weightlessness.  Ruth Vega-Fernandez, with her dominatrix wig, seems to come straight out of an old Russ Meyer film where sexy wrestlers drive around in Porsches and settle scores with redneck morons.  She plays the mother, all the mothers.  And even the father.  We lose our bearings a little and that's a good thing.  "L’Etang" moves in the realm of the ambivalent, the vague, the unclear...
A tour de force
And here is Adèle Haenel, doubled over with inner pain, a too-big body that she doesn't seem to know what to do with, hooded jacket and white Tacchini tracksuit like armor.  A teenage girl, a teenage boy?  Here too, we don’t know any more.  She plays Fritz, who will fake his suicide to test his mother's love, as well as Klara and Paul, Fritz's sister and brother.  Her acting takes a cue from ventriloquism, in its permanent instability.  It is a tour de force, a fantastic performance.  Her voices are alternately low, high, plaintive, assertive, sadistic, and simpering.  The unease is palpable.
The story includes unspoken things that crawl into the dark underground of consciousness.  The short play (barely twenty pages of text in the paperback version from the publishing house Zoé) is called "L'Etang".  To experience what happens on the stage of Vidy-Lausanne, you could rename it "The Creature from the Black Lagoon".  Initially, this text from 1902 has the tone of a slightly grating farce.  Director Gisèle Vienne has decided to dive into the dark side of the farce.  And we’re on board.  Carried away by powerful music that seems to herald the apocalypse and is fully integrated with the actresses, the lights and the set.
Pain, fantasies, incest
But what did Robert Walser, then a young 24-year-old writer from Biel, want to say with "L’Etang"?  Nobody knows, except his beloved sister Fanny.  It was to her, and to her alone, that he gave this text written in the form of a play, with dialogue and stage directions.  It is the only text in dialect by this German-speaking writer, who would soon be adored by Franz Kafka, Walter Benjamin, Robert Musil and Frank Wedekind, the avant-garde cream of German literature at the time.
Fanny must have understood the stakes and the hidden messages of this "Etang" where laughter, pain, fantasies and actual events of incest lurk  beneath the surface.  This text can be seen as a letter or a confession.  Fanny never revealed her secret keys.  However, she agreed to publish this intimate text after her brother’s death.  Robert Walser, who had been committed to a psychiatric asylum and who no longer wrote, died in 1956 at the age of 78 after a long solitary walk in the Appenzell snows.  Exactly like one of his own poet characters.
Reinterpreted by Gisèle Vienne, "L'Etang" has been re-translated into French in order to better blend in with her creations, which call upon theater, dance, exhibition and music.  The language is contemporary and this painful struggle, both internal and external, that is adolescence finds its full measure with exceptional actresses in their art of marrying words with suffering.  The word made flesh.
"L'Etang", at the Théâtre de Vidy-Lausanne, until May 12.  Basel, Kaserne, May 19 and 20.  Geneva, La Comédie, from November 10 to 13.
[Please don’t repost this anywhere, in part or in whole.  Feel free to reblog, or at least cite your source and provide a link back here.  Asking permission would be nice in an ideal world, but I’m a realist - I know far too well how easy it is to appropriate stuff on Tumblr.  I would be the first to admit that my translations are not perfect - there  are some words and phrases that simply do not drop neatly into an equivalent in English, and I constantly fix typos and make changes or corrections in older posts - but they do take a lot of work and time.  Thanks for understanding. - C.]
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sfs-lworld · 8 days ago
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Adèle Haenel icons
Like this if you save please
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morganlafaye · 8 days ago
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“Do all lovers feel like they’re inventing something?”
Céline Sciamma, Portrait of a Lady on Fire
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karolpilberg · 8 days ago
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Portrait of a Lady on Fire (2019) dir. Céline Sciamma
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