La réunification des deux Corées is the third work in the context of the European project Villes en scène/Cities on stage. It will be accompanied by the exhibition Moving Cities-Paris produced in partnership with citizens associated with an artist.
CREATION | Odéon-Théâtre de l’Europe/Paris – Compagnie Louis Brouillard in coproduction with Théâtre National/Brussels – Folkteatern Göteborg – Teatro Stabile di Napoli – Théâtre français du Centre national des Arts du Canada/Ottawa – CNCDC Châteauvallon – Filature Scène Nationale/Mulhouse. In collaboration with: Teatrul National Radu Stanca/Sibiu
Although Pommerat has already started work, at the moment he feels the need not to talk about it yet. The reason is simple. For him, any talk about the project would risk crippling it, just by the simple fact that it would seek to determine its nature prematurely. At this stage, Pommerat is taking notes and prefers to keep quiet. These notes have no other aim but to assist the ideas, which are still changing, to settle down, to solidify at their own pace. In Troubles, the book of interviews which he gave to Joëlle Gayot, Pommerat described this phase of his work. His remarks give us an insight into why he is wary of any speech which might shed too hasty, too crude a light onto what is still seeking an identity: “A lot of things go through my mind in the course of a day. But I have a dreadful ability to bury them, or to forget them … Writing them down, it’s really saving them from nothingness or from extinction, certain ideas which seem to me to be essential for my work.” Pure writing – without selecting or refining, without even any syntax – is for him just one element in the global process of creating a new work for the theatre. It simply aims to grasp a multiplicity of outlines, of atmospheres, of paths to explore. Defining them would mean choosing too quickly, preventing “lots of things” from “going through my mind”. From burying to forgetting, his notes also mean another type of burial, that of a few words in the silence of writing in preparation. It is this silence which it is important to preserve. It is in the silence that Pommerat nurtures what he calls later “my intuitions, my sensations, my desires” and which he does not separate from voices, bodies and spaces. The words to speak of them will come when the time is right.