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Prospero | Trailer

Ingmar Bergman’s film – onstage for the first time ever. Anna and Ester, sisters with a difficult relationship, are on their way home to Sweden with Johan, Anna’s young son. Ester falls ill and they are forced to interrupt their journey in a foreign country on the border of Europe. They find themselves in the fictional city of Timoka, a mysterious place where the locals speak a language they do not understand. The country seems to be on the verge of a civil war. Meanwhile, another conflict rages in the hotel between the two sisters, as they desperately try to make sense of their surroundings and of themselves. Left on his own, the child wanders the hotel corridors, meeting the other guests and weaving together fragments of the adults’ enigmatic world. The Silence is an alluring and sorrowful allegory of humanity’s helplessness. An exploration of boundaries, language, sexuality, closeness, submissiveness, dominance, guilt and freedom. The Silence is an outcry for understanding. Known for their eccentric aesthetics, the highly praised Irish theatre company Dead Centre gently updates the story to our own time and, with the help of film maker Grant Gee’s live-video design, they unexpectantly filter the story entirely through the child’s point of view. Part of the European theatre project&nbsp;Prospero Extended Theatre. Co-funded by the Creative Europe Programme of the European Union.

The Silence | Full movie

Audio: SESubtitles: De, EN, ES, FR, PL, PT,&nbsp;SE, HR By:&nbsp;Ingmar
 Bergman 
 Adaptation:&nbsp;Mark O'Halloran with Dead Centre 
 Translation:&nbsp;Joel Nordström 
 Direction:&nbsp;Bush Moukarzel 
 Video direction: Grant Gee 
 Ensemble:&nbsp;Mia Höglund-Melin, Sandra
 Redlaff, Christer Fjellström, Ramtin Parvaneh, Karin Lycke, Marta Andersson
 Larson, Berna Inceoglu, Anna Jukic, Farrokh Tavakoli 
 Set Design:&nbsp;Jeremy Herbert 
 Costume design:&nbsp;Maja Kall 
 Mask design:&nbsp;Patricia Svajger 
 Light design:&nbsp;Max Mitle 
 Sound design:&nbsp;Kevin Gleeson 
 Composer:&nbsp;Kevin Gleeson 
 Dramaturges:&nbsp;Ben Kidd and Joel Nordström 
 Publisher:&nbsp;The Ingmar Bergman Foundation (original filmscript)

Dopo La Battaglia
(After The Battle) is a composition that opens wide the doors of our
existential darkness, in a continuous flow that pierces through the void it has
unveiled.&nbsp; Through the rhythm of the
music and the dance, finding in the words and poetical verses the harmony
between language and emotion, we witness present pain transfigured into faith
in the future. The performers in Delbono's company keep breaking through to the
unexpected, in a sea of continuous metamorphosis, where salvation is only
possible after the unavoidable shipwreck. 
A new presence
travels with them on this journey: the dancer Marigia Maggipinto, a historical
component of Pina Baush's dance company. Delbono stands by his companions,
urging them onto the neutral scenery, a physical and mental grey zone, a
crossroads of our imaginative world, where we see figures of our real world
flowing through, where the misery and vices of a captive, blind people take
form and come to life with motions that become mechanical, automatic. The words
of authors such as Antonin Artaud, Franz Kafka, Alda Merini, Pier Paolo Pasolini,
Walt Whitman, Rainer Maria Rilke, Alejandra Pizarnik, re-written by Pippo
Delbono, resonate in a ritual that is, at once, sacred and secular. Music by
Verdi, Nicolò Paganini, and Petr Ilic Tchaikowsky accompanies these words and
verses, entwining with original music composed and performed live by Alexander
Balanescu, a violinist, composer,&nbsp;
and&nbsp; prominent interpreter of
music composed at the turn of the third millennium.&nbsp; 
This
theatre piece represents an important step in Delbono's artistic path, bringing
new lymph to his language, with video extracts and atmospheres from the movie
world, and images that Delbono himself filmed with his phone –&nbsp; a continuation of the experiments we saw in
his recent “La Paura” (The Fear).&nbsp;
An expanding theatrical language, traced by bodies and texts, by
different forms of saying and representing, by&nbsp;
pitches and tones turned into action by the music and dance, by actors
who turn words into flesh, in a theatre that becomes flesh of its own time, and
of the times we live in. // IT //Dinanzi allo spettacolo Dopo la
 battaglia di Pippo Delbono ci ritroviamo come all’inizio di un viaggio
 visionario, sulla soglia di una sequenza di quadri, nel corpo di una
 drammaturgia che ci mostra, senza falsi pudori, la verità della follia. Dopo
 la battaglia è una composizione che spalanca le porte del nostro buio
 esistenziale, sfociando in flusso continuo, trapassandone lo spazio. Trovando
 il ritmo proprio della danza e della musica, cercando nelle parole e nei versi
 l’accordo di emozioni e linguaggi, trasfigurando il dolore del presente nella
 fede nel futuro. Gli attori della Compagnia Delbono irrompono continuamente
 nell’inatteso, in un mare in perenne metamorfosi, dove la salvezza possibile
 avviene dopo l’ineludibile naufragio. Accompagna questo viaggio una presenza
 nuova, la danzatrice Marigia Maggipinto, già storica componente della compagnia
 di Pina Bausch. Delbono fiancheggia e sospinge i suoi compagni sulla scena di
 uno spazio neutro, uno spaziomente grigio, crocevia del nostro immaginario,
 dove scorrono le figure del nostro mondo, dove vivono i vizi e le miserie di un
 popolo ingabbiato e cieco, le cui mosse si fanno automatiche. Vi riecheggiano,
 in un rito laico e sacrale, brani tratti da autori come Antonin Artaud, Franz
 Kafka, Alda Merini, Pier Paolo Pasolini, Walt Whitman, Rainer Maria Rilke,
 Alejandra Pizarnik

riscritti da Pippo Delbono. Scena di versi
 e parole che accade sulle note di Giuseppe Verdi, Niccolò Paganini, Pëtr Ilic
 Cajkovskij e le cui note di intrecciano alla musica originale, eseguita dal
 vivo di Alexander Balanescu, violinista, compositore contemporaneo, interprete
 della nuova musica a cavallo tra primo e secondo millennio. Uno spettacolo che
 rappresenta una tappa importante nel percorso artistico di Delbono, che immette
 una linfa diversa nel suo linguaggio, puntando su effetti video e atmosfere
 cinematografiche, su stati di immagini realizzati dallo stesso Delbono con il
 suo telefono cellulare, a proseguire la sperimentazione del suo ‘La Paura’.
 Nella forma di un teatro espanso, tracciato di corpi e testi, di forme
 del dire e del rappresentare,

di toni che nella musica e nella danza si
 fanno azioni, verbo incarnato di attori, in un teatro che si fa carne del suo
 tempo, del nostro tempo.

After the battle | Full movie

Audio: IT Subtitles: EN, FR, NL, IT, PL, PT, ES, DE Conceived and directed by Pippo DelbonoWith Dolly&nbsp;Albertin, Gianluca Ballaré, Bobò, Pippo Delbono, Ilaria Distante,&nbsp;Simone
Goggiano, Mario Intruglio, Nelson Lariccia, Marigia Maggipinto, Julia Morawietz, Gianni Parenti, Pepe Robledo, Grazia SpinellaWith the participation of Alexander Balanescu Original music Alexander Balanescu Scenes Claude Santerre Costumes Antonella Cannarozzi Lights Robert John Resteghini Technical director Fabio Sajiz Sound responsible Angelo Colonna Sound Corrado Mazzone Light and video Orlando Bolognesi Wardrobe Elena Giampaoli Chief machinist Gianluca Bolla Machinist and video Mattia MannaProduction manager Alessandra VinantOrganisation Silvia Cassanelli Tour manager Raffaella Ciuffreda Production:&nbsp;Emilia
Romagna Teatro Fondazione, Teatro di Roma, Théâtre du Rond Point- Paris,
Théâtre de la Place – Liège, Théâtre National de Bretagne - Rennes Thanks to&nbsp;Teatro Pubblico Pugliese and Cinémathèque
Suisse The song "Romaria" (R. Oliveira),&nbsp;© 1977 Warner Chappell Edicoes Musicais Ltda is used under licence of Warner Chappell Music Italiana Srl

Fraternity, a fantastic tale | episode three

Fraternity, a fantastic tale | episode three : Vasanth

Fraternity, a fantastic tale | episode two

Fraternity, a fantastic tale | episode two : Nanii 

Audio: FRSubtitles: EN

Fraternity, a fantastic tale | episode one

Fraternity, a fantastic tale | episode one : Maimouna

Fraternity, a fantastic tale | Prologue

Audio: FRSubtitles: EN

Prospero Originals

PROSPERO ORIGINAL CONTENTS

<div id="comp-k8hsnx8y" class="_1Q9if _3bcaz" data-testid="richTextElement">OURAGAN is the story of an absurd night of insomnia. The night of Abdeslam, a pasta delivery man on a bicycle. Alone in his apartment, this disposable worker confronts a form of insidious violence, that of the urban jungle and of social determinism. Drowned in the smoke of his dark ideas, he is looking for his place... when suddenly another Abdeslam appears, who in turn multiplies himself. Is it the beginning of schizophrenia, marijuana abuse or exacerbated fatigue? It doesn't matter. Abdeslam, a quintuplet, at odds with himself, must try to reconcile his different personalities in order to achieve appeasement.For this second show, which he writes and directs, the Belgian artist Ilyas Mettioui (with the collaboration of Zoé Janssens) gathers a quintet of performers with different artistic paths. A text infiltrated with acid humor, associated to a vibrant choreography, opens the doors of intimacy, exposing in what is buried there. // FR //&nbsp;



OURAGAN
 c’est l’histoire d’une absurde nuit d’insomnie initiatique. Celle 
d’Abdeslam, livreur de nouilles à vélo. Seul dans son appartement, ce 
travailleur jetable se confronte à une forme de violence sournoise, 
celle de la jungle urbaine et du déterminisme social. Noyé dans la fumée
 de ses idées noires, il cherche sa place... quand subitement un autre 
Abdeslam apparaît, qui à son tour se démultiplie. Début de 
schizophrénie, abus de marijuana ou fatigue exacerbée ? Peu importe. 
Abdeslam, quintuplé, en désaccord avec lui-même, doit tenter de 
concilier ses différentes personnalités pour atteindre l’apaisement.Pour ce 
deuxième spectacle qu’il écrit et met en scène, l’artiste belge Ilyas 
Mettioui (avec la collaboration de Zoé Janssens) rassemble un quintet de
 performeurs aux chemins artistiques hétéroclites. Un texte infiltré 
d’humour et d’acide lié à une chorégraphie bouillonnante nous ouvrent 
les portes de l’intime en exultant ce qui y est enfoui.</div>

Ouragan | Full movie

Audio: FR 
 Subtitles&nbsp;: - 

Avec : Egon Di Mateo, Benoît
 Fasquelle (ou Pierre Genicot), Ben Fury, Nganji Mutiri, David Scarpuzza
 &nbsp; 
 Écriture et mise en scène : Ilyas
 Mettioui 
 Collaboration artistique et dramaturgie : Zoé Janssens 
 Création sonore : Guillaume Istace
 
 Création lumière : Christian
 François 
 Impulsion chorégraphique : Ben Fury 
 Regards artistiques : Sarah Brahy,
 Julien Carlier et Simona Soledad 
 Assistants à la scénographie : Zoé
 Ceulemans et Roman Balthazart
 &nbsp;


Production et diffusion belge : Le Boréal Diffusion internationale :
 MAG.I.C&nbsp; / La Magnanerie, Victor Leclère. 

Création et production déléguée : Atelier 210. 

En coproduction avec le Théâtre de Liège, la Coop asbl.&nbsp; Avec l’aide de
 la Fédération Wallonie-Bruxelles – Service du théâtre Avec le soutien du KVS,
 du Théâtre Océan Nord, de L’Escaut, de la compagnie Thor, du BAMP- LookIN’OUT,
 de Shelterprod, de taxshelter.be, de la Wipcoop, d’ING et du Tax-shelter du
 gouvernement fédéral belge.

Utopia | Full movie

Audio: SESubtitles: -

Iphigenia by Jean Racine, directed by Stéphane Braunschweig

In Racine’s Iphigenia,
the world has ground to a halt. As the Greeks were about to set sail for Troy,
the winds have dropped abruptly. Their soothsayer Calchas reveals that the gods
demand the sacrifice of Agamemnon’s young daughter, Iphigenia. Is this the
price the Greeks have to pay if they are to keep their word to themselves and
quench their thirst for power? Or is this pause, and this intolerable way out
of it, a divine warning that the siege of Troy will end up in disaster? In this
strange play, all’s well that, so to say, ends well: another victim’s blood
will be shed, and the Greeks will sail at a stranger’s expense. The winds blow,
the epic picks speed, History marches on. For better and – Racine implies – for
worse. This baroque and tortured classic, not performed at the Odéon since
decades, has inspired Stéphane Braunschweig a production fit for our troubled
times.

Iphigenia | Full movie

Audio: FR Subtitles: FR, EN By Jean Racine, directed by Stéphane Braunschweigwith 
Suzanne Aubert : Iphigénie 
Sharif Andoura : Ulysse 
Jean-Baptiste Anoumon : Arcas 
Astrid Bayiha : Doris 
Anne Cantineau : Clytemnestre 
Glenn Marausse : Eurybate 
Pierric Plathier : Achille 
Chloé Réjon : Ériphile 
Jean-Philippe Vidal : Agamemnon 
Clémentine Vignais : Ægine 
 
Designer: Stéphane Braunschweig 
Artistical collaboration: Anne-Françoise
Benhamou 
Costumes: Thibault
Vancraenenbroeck 
Lights: Marion Hewlett 
Sound: Xavier Jacquot
Video : Maïa Fastinger
&nbsp; 
a show created in September 2020 at the
Odéon-Théâtre de l'Europe 
&nbsp; 
a co-production AGAT Films &amp; Cie - Odéon-Théâtre de l'Europe 
with the participation of France
Télévisions 
&nbsp;
a film by Alexis de Favitski performance
recorded at the Ateliers Berthier of the Odéon-Théâtre de l'Europe 
&nbsp; 
Translation and subtitling: Daniel Loayza 
Subtitling: Juliette Caron

by Molière, directed by Stéphane Braunschweig

One of Molière’s darkest comedies on
masculine fear and cruelty – as well as on feminine resourcefulness. For the
last four years, Arnolphe has prevented his young daughter from having any
contact with the outside world in order for his marriage plans for her to come
to fruition. Agnès’s ignorance to her plight is also disturbing. Survival
strategy or inability to deal with the outside world, it is hard to tell. This
shutting off from the outside world, in both physical and ideological terms,
also strikes us as being extremely violent. Indeed, Arnolphe soon finds the
cruelty of his actions turning back on him, the intensity of his nightmares
increasing. The whole play unfurls in front of the house. It is here that Agnès
is kept “safe and sound”. Molière, however, weaves mysterious ellipses in
between the acts. They provide us with scenes that take place in secret, within
the confines of the house, and which are then related to us - in whole or in
part - at a later date. These ellipses prompt the reader to use their own
imagination, and plunge into the hidden novel behind the play. Just as he did
in Tartuffe (Odéon, 2008), this is precisely the novel which Stéphane
Braunschweig will be inviting us to explore. Only then can we discover,
perhaps, a very different Agnès, the essence of whom lies beyond Arnolphe’s
grasp. It will be theatre’s job to reveal what happens behind the closed
shutters, and to bring out the humour, as dark as it is strange, of Molière’s
brand of madness.

The School of Wives | Full movie

Audio: FRSubtitles: FR, EN By Molière, directed by Stéphane Braunschweig
with 
Suzanne Aubert : Agnès 
Laurent Caron : Alain 
Claude Duparfait : Arnolphe 
Georges Favre : Enrique 
Glenn Marausse : Horace 
Thierry Paret : Oronte 
Ana Rodriguez : Georgette 
Assane Timbo : Chrysalde 

Designer: Stéphane
Braunschweig 
Artistical collaboration: Anne-Françoise Benhamou 
Stage design collaboration: Alexandre de Dardel 
Costumes: Thibault Vancraenenbroeck 
Lights: Marion Hewlett 
Sound: Xavier Jacquot
 Video : Maïa Fastinger 
Make-up / hair: Karine Guillem
 Director assistant&nbsp;: Clémentine Vignais 
Set design : Atelier de construction de l'Odéon-Théâtre de l'Europe 


A show created on 9 November
2018 at the Odéon 

Production Odéon-Théâtre de
l'Europe 
Coproduction Théâtre de Liège,
DC&amp;J Créations 

With the support of Le Cercle
de l’Odéon, and Tax Shelter du Gouvernement fédéral de Belgique

Production of the recording Alexis
de Favitski 

Translation and cutting of
subtitles : Dominique Hollier 

Subtitles : Juliette Caron 

© ODEON-THEATRE DE L’EUROPE -
2019

Consortium play

OUR NETWORK'S PLAYS 

Depuis 2015, Caroline Guiela Nguyen intervient auprès de comédiens détenus de la Maison Centrale d’Arles. Elle a imaginé pour eux un conte fantastique. Ni documentaire, ni sujet sur la prison, Les Engloutis est une puissante fiction qui nous place dans un futur proche. Alors qu’une vague a englouti la moitié de l’humanité, des lieux d’attente sont inventés afin de maintenir le lien avec les disparus. Au fil des ans, ceux-ci se remplissent de chagrin et d’espoir. Jusqu’au jour où les disparus reviennent…

 Since 2015, Caroline Guiela Nguyen has been working with detained actors at the Maison Centrale d’Arles. She imagined a fantastic tale for them. Neither documentary, nor subject about prison, Les Engloutis is a powerful fiction that places us in the near future. After a wave has swallowed half of humanity, waiting places are invented to maintain the link with the disappeared. Over the years, these places are filled with grief and hope. Until the day when the disappeared come back…

Les Engloutis  | short film

Scenario and direction Caroline Guiela Nguyen Script doctor Juliette Alexandre Head of film photography Augustin Barbaroux&nbsp; With Dan
 Artus, Ava Baya, Pascal Chazel, Sheila Coren Tissot, Anthony Costes, 
Sayyid El Alami, Galynette, Violette Garo, Adeline Guillot, Cédric 
Luste, Laure Mathis, Nino, Alexandre Pallu, Jean Ruimi, Esteban Sanchez,
 Michel W., Manon Worms, Léon Zongo 1st assistant director Claudia Lopez Lucia&nbsp; 2nd assistant director Claire Calvi 1st assistant operator Jonas Gayraud Head set sesigner Alice Duchange&nbsp; Assistant set designer Jules Bouteleux Costumier designer Benjamin Moreau Sound engineer Gaël Eléon Chief electrician Colin Lefebvre&nbsp; Chief machinist Pierre Marion-Andrès Stage ManagerAlexandre Kassis Stage trainee Kenza Vannoni Image montage Juliette Alexandre Musical creation Antoine Richard Production Les Films du Worso (Sylvie Pialat – Benoit Quainon) ; Les Hommes Approximatifs

In
 this film, you will dive into the Odeon's heart, its machinery and its 
history. With the actor Moustafa Benaïbout as your guide, you will visit
 the backstage, the underneath, the grill, the stage, the construction 
workshops, the foyer...

The Odeon's other side | documentary

Duration about 15 min / subtitles in English and French. A film produced, written and directed by the Odeon-Theatre of Europe. with Moustafa Benaïbout.

<div class="mce-content-body">This is a multimedia combination of a civil action, theatrical show, and film.

CENTRALA 
is working with scientists and lawyers on a civil anti-smog bill that 
will allow the introduction of changes in the regulations regarding the 
protection of air purity in Poland. This bill will be a finished legal 
solution, accessible to all that can improve the quality of air in the 
country with their actions. 
 An additional effect of working on that bill and considering the 
problem of smog is the creation of movies with smog in the background. 
The creators use short forms to show the reality in which a walk in a 
park brings a life threat. 
 Because polluted air changes everything, even if you pretend that all 
is well and there is no problem. Because smog is a fact. This is what 
life looks like when breathing can kill you.</div>

Nom qui apparait 

Audio: PLSubtitles: EN Director: Michał ZadaraCast:&nbsp;Arkadiusz Brykalski, Wiktor Loga-Skarczewski, Jerzy Trela,
Barbara WysockaCooperation: Teatr Powszechnt &amp; CENTRALA

I like smog | Movies from the smog era

Audio: PLSubtitles: EN Director: Michał ZadaraCast: Arkadiusz Brykalski, Karina Seweryn, 
Barbara WysockaCooperation: Teatr Powszechnt &amp; CENTRALA

PROSPERO ORIGINAL CONTENTS

OUR NETWORK'S PLAYS

ADDITIONAL CONTENTS