COMPANY

The company Nasser Djemaï it's : Nasser Djemai - Author and Director | Fatima Aibout, actress | Clémence Azincourt, actress | Zakariya Gouram, actor | Martine Harmel, actress | Issam Rachyq-Ahrad, actor | Lounès Tazaïrt, actor | David Arribe, actor | Angelo Aybar, actor | Azzedine Bouayad, actor | Azize Kabouche, actor | Kader Kada, actor | Lellia Chimento, location manager | Aby Mathieu, lighting director | Nicolas Perreau, sound and video director | Djivan Velon, stagehand | Fadhila Mas, distribution manager | Céline Martinet, production & communications manager

 

“The present stifles us and rips identities apart. This is why I will only find the real me tomorrow, when I will be able to say and write something else. You don't inherit your identity, you forge it. It forges us, and we are always forging it. I try to raise hope like you raise a child. To be what I want to be, not what others want me to be.”

Mahmoud Darwich

There are parallel worlds, very close to home, like pockets filled with bulky particles, constantly irrigated by too much incomprehension. Urban cysts now seen as open prisons, ghettos. That's where my parents live, it's here, among other places, where I grew up ...

My father's journey is like an epic that I will never get tired of. Through my child's eyes, he is still a hero who has gone through a series of epic events that have marked the history of our family. On his scale, and to amuse myself a little, I like to compare him to those half-gods from Greco-Roman antiquity like Hercules, Achilles or Perseus. Sometimes to make fun of him and make him laugh, I play him as a clown, I mimic a giant, a little clumsy, who carries mountains, lights the sun up or drinks the oceans; and deep down I say to myself: What will remain of his memory? His language, his poetry, his proverbs, his nonsense? Not just for him, but for all those who resemble him, and who embody all the imagination of the working culture of the twentieth century. When we arrived in these neighbourhoods in 1987, we were from the countryside, far from everything. We were especially afraid of the winter, the cold, the lack of light, the humidity, the isolation, without any transport We lived in a small worker's house, next to the cement mine where my father worked. We didn't know the city and like Louise Wimmer in Cyril Mennegun's film, our family experienced our arrival into this housing estate as a real awakening. We finally felt safe, we were warm all year round, we could go shopping every day, go to see the doctor, the chemist. We had a few trouble-free years there, even feeling quite relaxed. But over time, unemployment seeped into the neighbourhoods and 28 years later, things have drastically changed. Everyone who could leave, left ; over time the population shifted. Now there are very happy families there, thriving, and there are others who must fight to survive every day. And some chose to close themselves off in a spiritual quest for identity, cutting themselves from the world. Through this history, my history, I create my theatre, immersed in these modern tales and legends.

Nasser Djemaï