Sophie Calle’s ghost at Orsay, Christophe Honoré’s new play at the Odéon… Our 5 cultural must-sees

The Sky of Nantes, directed by Christophe Honoré, at the Théâtre de l’Odéon. Jean Louis Fernandez

Exhibitions, theatre, books… Every fortnight, Madame Figaro offers its cultural selection.

The Sky of Nantes the new play by Christophe Honoré

“Each family secretes an inner and specific boredom that scares each of its members when they have a little life left. But it also has an ancient and powerful virtue, which lies in the communion around the evening soup, in the feeling of being among oneself, and without manners, such as one is /…/” This quote from Paul Valéry , highlighted in the program of the new autobiographical play by Christophe Honoré, summarizes it. The Sky of Nantes, mixing the intimate with the recent history of France (immigration of the 1950s, the Algerian war, the rocking of the working class, ordinary racism of the 1980s) explores the out of tune ties of an unhappy family and reviews all the ghosts of the past. Prodigious actors Chiara Mastroianni, the director’s favorite actress, takes her first steps in the theatre, moving text on time, transmission, heritage, Christophe Honoré in her unique way. “Why do you need to live everything twice?” asks his mother. This is all the consoling power of art.

The Sky of NantesChristophe Honoré, Odéon theater until April 3.

Sophie Calle, the ghost of Orsay

Sophie Calle, Orsay 1979 Richard Baltauss

It all dates back to 1978. The Gare d’Orsay and its hotel were deserted and construction work on the Musée d’Orsay had not begun. Sophie Calle squats in room 501 for several months. She takes pictures there, invites friends over, steals keys, bits of pipe, old telephones, plays detective with abandoned customer files, then leaves for Venice, where she undertakes Venetian Suite which marks the beginning of his work. His stay at Orsay is in a way the matrix of his work which revolves around lack and absence. She develops her method there: classifying, storing, archiving… 40 years later the visual artist, who associates texts and images, is back in her footsteps. With the archaeologist Jean-Paul Demoule, she explores the remains preserved in her studio and brings them into dialogue with the masterpieces of the museum: Courbet, Manet, Degas or Caillebotte… A resolutely contemporary archaeology.

Sophie Calle, “The ghosts of Orsay”, until June 12 at the Musée d’Orsay.

Margot de Rochebouët and Giovanna Traversa launch Hatch

Portraits Hatch, Goivanni Raversa, Margot de Rochebouet Press office

Hatch ? A pretty name that strikes like an ax and means hatching for a dissemination platform dedicated to the emerging practices of the new generation of artists, to this young contemporary scene anchored in its time. Created by a shock and charm duo, Margot de Rochebouet and Giovanna Traversa, Hatch inaugurates its first exhibition “Refresh” by presenting the work of 11 millennial and cosmopolitan artists. Tears in resin and copper by Malu Dalla Piccola, narrative art between photos and poems by Aliha Thalien, objects on the edge of shamanism by Théphile Brient and Lingjun Hue, paintings that question reality by Julien Heintz or Mia Valence, this first season is a tribute to creation.

“Hatch, Season 1, Refresh”, until March 26, 2022, 94, rue Quincampoix, 75003 Paris.

Louis Jouvet’s theater lesson at the Studio de la Comédie-Française

Michel Vuillermoz, Gilles David, Didier Sandre in We will never be Alceste, according to Molière and classical comedy of the mythical Louis Jouvet. Christophe Raynaud de Lage, coll. French comedy

13 shows are scheduled this season at the Comédie-Française to celebrate the 400th birthday of their boss Molière. There are creations, covers and shows that revolve around it, like We will never be Alceste according to Molière and classical comedy of the mythical Louis Jouvet. Director Lisa Guez responded to Erice Ruf’s invitation by choosing these theater lessons, and more specifically the exhibition and anthology stage of the Misanthrope between Alceste and Philinte. Jouvet, professor at the conservatory, pays attention to diction, breathing, the intention of the character, his development in the play and shares his thoughts on the profession of actor. To interpret these three roles, the most capped of the troop. We will recognize Michel Vuillermoz, Gilles David, Didier Sandre.

We will never be Alcesteaccording to Molière and classical comedy by Louis Jouvet, directed by Lisa Guez, from March 24 to May 8, 2022 at the Studio de la Comédie-Française.

Tobie Nathan, the other’s bet

Cover of Tobie Nathan’s book Press office

“In all life there comes the moment when the need to confide one’s secrets comes,” confides Tobie Nathan, the cantor of ethnopsychiatry. The therapist doubles as a storyteller. We find in this opus the attention to otherness and the taste for the humanity of wandering souls where he dialogued with radicalized young people as well as the eloquence and charm of This country that resembles you, an autobiographical novel about the native country, Egypt. In Secrets of therapist, he recounts his journey, from his childhood to his stays in Africa discovering the importance of traditional ceremonies, the role of objects, the attachment to ancestors, to the gods. He also pays a vibrant tribute to his master Georges Devereux. Reading Tobie Nathan is an emergency, a contemporary follow-up to the lesson of Telemachus: “Sit down, stranger, eat well and rest, then you will tell us who you are and where you come from.”

Toby Nathan, Secrets of therapist, Iconoclast editions