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NOTHING HUMAN

AUTEUR : Marie Ndiaye

MIS EN SCENE : Christophe Perton

NOTHING HUMAN - Compagnie indépendante – théâtre, scénographie, opéra, cinéma (Rhone Alpes)

Marie NDiaye témoigne : « Ce thème des fantômes est certainement un des plus inspirateurs en ce qui me concerne, par la liberté totale à laquelle il invite : tout peut devenir fantôme, ce terme désigne à la fois quelque chose et rien, quelqu’un et son absence, la peur de voir revenir et l’espoir de voir revenir. C’est l’enfance et la maturité qui s’entremêlent, dans la même attente : qu’il se passe quelque chose... »

After years spent abroad, Grace, divorced and penniless, brings her three children back to NYC to reclaim her apartment.  She had lent it to Djamila, whom she fancies to be her best friend, upon her departure.  When Djamila refuses, Grace asks Ignatius, Djamila's neighbor and lover, to help her.
Djamila, however, is recalcitrant.  Brought up by Grace's family since she was 12, she has been continuously raped and abused by Grace's father and brothers.  She rejects Grace's friendship and refuses to give up the apartment.  She invites Grace to the apartment only to expel her from it through a cold hostile spirit begotten by all the abuse and humiliation Djamila has suffered – a spirit whom she calls her daughter.
Having failed to reconcile the two women, Ignatius is in turn expelled from his own apartment by Grace, who moves in with her three kids and starts working as Djamila's housekeeper in her former apartment.

After years spent abroad, Grace, divorced and penniless, brings her three children back to NYC to reclaim her apartment.  She had lent it to Djamila, whom she fancies to be her best friend, upon her departure.  When Djamila refuses, Grace asks Ignatius, Djamila's neighbor and lover, to help her.

Djamila, however, is recalcitrant.  Brought up by Grace's family since she was 12, she has been continuously raped and abused by Grace's father and brothers.  She rejects Grace's friendship and refuses to give up the apartment.  She invites Grace to the apartment only to expel her from it through a cold hostile spirit begotten by all the abuse and humiliation Djamila has suffered – a spirit whom she calls her daughter.

Having failed to reconcile the two women, Ignatius is in turn expelled from his own apartment by Grace, who moves in with her three kids and starts working as Djamila's housekeeper in her former apartment.

 

 

GRACE. My friend. My apartment. My faithful and adorable friend for a long time, 
a long time.
IGNATIUS. She didn't say anything.
She didn't tell me about you.
GRACE. But are you for her more than a neighbor?
IGNATIUS. Far more.
GRACE. Would it have been legitimate for her to tell you about me? Were there 
between you moments when she could have?
IGNATIUS. Every evening. Never has she told me about you.
And I am in love with her. I love her to the point of madness because she condescends to put up with me, with a certain kindness.
GRACE. Djamila is my oldest friend but…
(She cries)
I have just come from seeing her and it is not kindness, not at all kindness, that she exhibited. Djamila, however, lives in my house. My apartment. Should I say no longer my friend? Why? Who has she become, to no longer want to be someone I praised, over there, for her constant admiration for me, her devotion, her modesty? Tell me: who has she become?
IGNATIUS. If this apartment is yours, Djamila will never give it back to you. 
She will not leave.

GRACE. My friend. My apartment. My faithful and adorable friend for a long time, 

a long time.

IGNATIUS. She didn't say anything.

She didn't tell me about you.

GRACE. But are you for her more than a neighbor?

IGNATIUS. Far more.

GRACE. Would it have been legitimate for her to tell you about me? Were there 

between you moments when she could have?

IGNATIUS. Every evening. Never has she told me about you.

And I am in love with her. I love her to the point of madness because she condescends to put up with me, with a certain kindness.

GRACE. Djamila is my oldest friend but…

(She cries)

I have just come from seeing her and it is not kindness, not at all kindness, that she exhibited. Djamila, however, lives in my house. My apartment. Should I say no longer my friend? Why? Who has she become, to no longer want to be someone I praised, over there, for her constant admiration for me, her devotion, her modesty? Tell me: who has she become?

IGNATIUS. If this apartment is yours, Djamila will never give it back to you. 

She will not leave.

 

Marie NDiaye says : « This theme of ghosts is certainly one of the most inspiring in my case, for total freedom to which he invites: anything can become a ghost, this term refers to both something and nothing, and someone's absence, fear for the return and hope to see return. It is the childhood and maturity that intermingle in the same expectation: that something is happening ...»

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Calendrier :

vendredi 1O décembre à 18h & 21h

samedi 11 décembre à 14h & 20h

 

FOUR STREET THEATRE
http://www.nytw.org/default.asp
79 East 4th Street
New York, NY 10003

4 STREET THEATRE - NEW YORK THEATRE WORKSHOP

83 East 4th Street
New York, NY 10003

 

Distribution :

Traduction Mirabelle Ordinaire en collaboration avec Christophe Perton

mise en scène Christophe Perton

assistante Mirabelle Ordinaire

Roderick Hill dans le rôle d'Ignacius

Roselyn Ruff dans le rôle de Djamila

Leigh Wade dans le rôle de Grace

Stage Manager: Jinay L. Reitze*

General Manager: Barrack Evans

Production Manager: Julie Mason

Casting Director: Jack Doulin

Casting Assistant: Jen Haltman

Light Designer: John Anselmo

Stitcher: Jeffrey Wallach

* Is appearing courtesy of Actors' Equity Association