« In a car park, a man, a woman and a dog are the diabolic actors of a highly-unlikely and disconcerting saga, of a complex scenario filmed live and direct. Influenced by popular iconography and by the genre cinema, this film is a reworking and reinterpretation of the legend of Orpheus and Eurydice. Nothing to do with filmed theatre; here, the aim is to adapt a fiction to the screen exactly like in the cinema.

But why a car park? Orpheus loves Eurydice. Eurydice dies. Orpheus goes looking for her in Hades and loses her once again. The legend is well-known. Except that here, Orpheus is a successful singer onstage at Bercy, with a musical style somewhere between Dire Straits and Michel Fugain during his Big Bazar period, and he is played by Francis Huster. Who sings. Really. It could have been a good film, but like some sort of curse, pretty much in the same vein as those that hit the shooting of Poltergeist, Apocalypse Now and the actors in Arnold and Willy*, it has turned out to be an implausible film, filled with captivating incongruity which, straight out of the partnership of Jacques Demy, Michel Legrand and Francis Huster, is the result of compromises and deals: a sublime failure”.»

Jonathan Capdevielle, Marlène Saldana

Updating: January 2012

After theatre studies in Tarbes between 1993 and 1996, Jonathan Capdevielle joined the École supérieure nationale des arts de la marionette (French School of Puppetry Arts). He participated in several creations, including: “Personnage à réactiver”, a piece by Pierre Joseph (1994), “Performance” with Claude Wampler (1999), “Mickey la Torche” by Natacha de Pontcharra, translated by Taoufik Jebali, directed by Lotfi Achour, Tunis (2000), “Les Parieurs” and “Blonde Unfuckingbelievable Blond”, directed by Marielle Pinsard (2002), “Le Golem”, directed by David Girondin Moab (2004), “Le Dispariteur”, “Le groupe Saint-Augustin”, “Monsieur Villovitch” and “Hamlet”. He has worked with Gisèle Vienne since her first stagings and has performed in all her works: “I Apologize”, “Une belle enfant blonde / A young, beautiful blonde girl”, “Kindertotenlieder”, “Jerk, pièce radiophonique”, “Jerk, solo pour un marionnettiste”, “Éternelle idole”, “This is how you will disappear” and “LAST SPRING: A prequel” (a previous episode), created in 2011.

He has also participated in works created by Étienne Bideau-Rey and Gisèle Vienne: “Splendid's de Jean Genet”, “Showroomdummies” (created in 2001 and rewritten in 2009) and “Stéréotypie”.

In September 2006, he created “We are accidents waiting to happen” at the Palais de Tokyo, Paris, in partnership with Guillaume Marie. In 2007, he signed the Jonathan Covering performance-singing tour at the Tanz im August Festival in Berlin, the starting point for his Adishatz / Adieu work, presented in November 2009 at the national Choreographic Centre of Montpellier Languedoc-Roussillon as part of ]Domaines[ and then in January 2010 during the C'est de la Danse Contemporaine Festival at the Centre for Choreographic Development of Toulouse / Midi-Pyrénées.

In April 2010, he performed in Yves-Noël Genod and Nathalie Quintane's radio play “Marseille Massacre” within the framework of France Culture's radio creation workshops.

Updating : January 2012

Vincent Thomasset was born in 1974. After studying literature in Grenoble, he accumulated odd jobs before working as an interpreter with a number of stage directors, including Pascal Rambert. In 2007 he enrolled in Ex.e.r.ce (at the Montpellier National Choreographic Centre), which would be the starting point of 3 years of research.

Working mainly in situ (Paris regional trains, stairwells, car parks, parks, museum courtyards, etc.) in order to save money and ensure freedom, for a while, from economic pressures, he accumulated a variety of materials and issues, literary, choreographic and plastic alike, in the course of public performances.

Today, he has decided to devote himself to the production of reproducible shapes, in particular by creating a series of shows entitled Serendipity, the first 2 episodes of which (Sus à la bibliothèque ! & Les Protragronistes) were created for the Artdanthé festival in 2011 and 2012. A large part of his work is archived online, thus allowing an overview of his approach.

Source: website of the French radio France Culture