A la recherche du corps wagnérien

A la recherche du corps wagnérien

with 80 actors, singers and dancers

A monumental four-part cycle, the Ring des Nibelungen was the successful result of Wagner’s quest for a total work of art. Based on the model from classical tragedy which allied theatre, poetry, music and dance in perfect unity, this epic inspired by Norse and ancestral mythologies represents a landmark in the history of the performing arts. Wagner’s work has been providing fruitful material to experiment.


Danse macabre au Walhalla, based on The Rhinegold

At the origin of a world where gods, humans and underground creatures mingle, The Rhinegold acts as a prologue to the three days of the Ring. Around this momentous beginning that, like the shape of the ring, already announces its end from the outset, the variety of characters, the versification of the libretto and the numerous scene changes and other staging indications were used as the initial field of research into the Wagnerian material. Measuring the impact of music and reinventing an ancestral language called “Ur-language”, the embodiment of hybrid beings like undines, idiotic giants or lecherous gnomes and situating the place of the action in mud, salt or ice: together, all these attempts provided ways of entering German mythology as well as exploring the nature of the Gesamtkunstwerk.


Workshop directed by : Ingrid von Wantoch Rekowski
Participants : Stéphane Roussel, Candy Saulnier, Isabelle Dumont, Simon Thorne, Ivo Kuyl, Roland Van der Hoeven
Actors (Conservatoire Royal de Mons) : Grégory Blaimont, Céline Delbecq, Morgiane El Boubsi, Grégoire Fasbender, Simon Fiasse, Agnieszka Ladomirska, Magali Pingault, Anne Schmitz, Shérine Seyad, Réal Siellez, Valentine Syfer
Set design (La Cambre) : Cécile Balate, Olivia Barisano, Eglantine Chaumont, Maude Ledoux, Valentin Périlleux, Pauline Picry, Kornelia Piskorek
Associated teachers : Jean-Phillipe Collard, Jean-Claude De Bemels, Béatrice Massinger, Christine Mobers

Paradis guerrier, based on The Valkyrie

After the prologue, the main theme of this first day is the conflict and attraction between beings. Confronting Wotan, the God of gods, his daughter Brünnhilde, surrounded by a horde of Valkyries, affronts ancestral authority when she saves – against his paternal will – the incestuous twins Siegmund and Sieglinde. These interactions lead to the two clans facing each other here: first seven fair-heads and seven dark-heads, then thirteen women and one man. The art of war as a way of confronting each other, the exploration of religious ritual, speed dating by way of amorous meeting and a colloquium of shrinks pussyfooting about the meaning of incest formed the basis for the improvisations. On a large chessboard bringing the clans into conflict, in a ballet, then a march of furious Valkyries rallying to the sound of the ride or of a horn, each character is eventually called to respond to the other’s leitmotiv.


Workshop directed by : Ingrid von Wantoch Rekowski
Dramaturge : Stéphane Roussel
Assistant :  Edith Bertholet
Workshop I : Selma Alaoui, Angelo Dello Spedale Catalano, Sophie Descamps, Frédéric Ghesquière, Rama Grinberg, Ludmilla Klejniak, Cédric Lenoir, Nicolas Luçon, Clémentine Marmey, Aurelio Mergola, Laurent Michelli, Naïma Triboulet, Bénédicte Wenders, Gaëtan Wenders
Workshop II : Hanna Bardos, Dieter Bossu, Chiara De Palo, Agnès Guignard, Cécile Leburton, Sylvie Merck, Sandhya Nagaraja, Isabelle Roeland, Ariane Rousseau, Amanda Smallbone, Silvana Suarez, Barbara Sylvain, Shahla Tarrant, Catherine Travelletti, Carole Trevoux, Françoise Vanhecke, Diane Weller
Production : Lucilia Caesar supported by the Théâtre National, Koninklijke Vlaamse Schouwburg, Ministère de la Communauté française – service du Théâtre

Seul celui qui jamais ne connut la peur, based on Siegfried

This third part of The Ring of the Nibelung charts the emancipation and breathtaking rise of Siegfried, the fiery, foolhardy and cheeky hero who knew no fear. Using musical interludes coming directly from the score and reworked, the production explores the different faces that this valiant knight can assume. The reunion of the Wagnerian circle and its troop of fanatics, the meeting with the dragon, a reality show “Looking for the perfect Siegfried”, the visit of the cave of desire, the creation of a race without fault or vice, or a workshop about the fear for love: together these elements constitute the steps of this heroic crossing leading to the awakening of the virgin in armour, Brünnhilde. In the finale she exclaims, under the guise of several girls, “Who is the hero that awakened me?”


Direction : Ingrid von Wantoch Rekowski
Actors (INSAS) : Guillaume Alexandre, Helena Coppejans, Gabriel Da Costa, Claire Leyat, Sophie Maillard, Simon Moers, Eléna Perez, Estelle Petit, Catherine Picalausa, Anne-Céline Souma, Aurélien Van Trimpont, Lise Wittamer
Stage managers, Assistants (INSAS) : Caroline Bastin, Quentin Boillat, Pauline Chevallier, Julien Courroye, Astrid De Man, Elsa Martinez, Fabienne Muet, Léa Schwebel, Lucile Urbani
Visiting teachers : Michel Boermans, Christine Grégoire, Manon Ledune, Nicole Moris, Jean-Marie Piemme, Alain Prévot assisted by Bernadette Blanchy and David Naud
Production : Institut National Supérieur des Arts du Spectacle supported by Théâtre National

Ma lance le frappera dans le dos, based on The Twilight of the Gods

A Schopenhauerian, fatal vision, The Twilight of the Gods recounts the annihilation by fire of the supreme beings’ cursed universe, the end of a hierarchy driven by the quest for gold. In the image of this collapse, this last part of the research is spun around a decadent and perverse micro-society. While the three Norns weave the threads of the future and the raven acts as a messenger of fate, the sovereign and his prime minister are in confrontation, the royal children play at incest, the athletic hero trains with his coach, religion, under the guise of a dubious priest and his sulphurous secretary, loses itself in excesses, and the army general with his aide elaborates a social project. Like a Greek tragedy revisited, the development – accompanied by quotations from Nietzsche and Schopenhauer and chanted by four choruses following Wagner’s libretto – leads to a sordid finale. To Wagner’s famous Funeral March, the manhunt transforms itself in a cruel corrida, leading to the final slaughter of the hero before a sniggering crowd.


Workshop directed by : Ingrid von Wantoch Rekowski
Assistant : Edith Bertholet
Dramaturge : Stéphane Roussel
Actors (Manufacture de Lausanne) : Melanie Bauer, Liza Baumann, Emilie Bobillot, Alain Borek, Ludovic Chazaud, Baptiste Coustenoble, Marion Duval, Baptiste Gillieron, Stella Giuliani, Aurore Jecker, Aline Papin, Camille Mermet, Ludovic Payet, Lucie Rausis, Lola Riccaboni, Cédric Simon
Lecturers: Laurent Guido, Alain Perroux


Lucilia Caesar  with support from the Fédération Wallonie-Bruxelles in collaboration with the Théâtre National, the Koninklijke Vlaamse Schouwburg, Festival Brigittines, the Conservatoire Royal de Mons, the École Nationale Supérieure de la Cambre, the Institut National Supérieur des Arts du Spectacle, the Manufacture Haute École de théâtre de Suisse Romande Lausanne.


Connaissez-vous Wagner ? Si oui, précipitez-vous au théâtre National pour y découvrir Seul celui qui n’a jamais connu la peur. Si non, précipitez-vous au Théâtre National pour y découvrir Seul celui qui n’a jamais connu la peur.

C’est drôle, tonique, plein d’idées et d’intelligence.

On ne s’ennuie pas une seconde, on s’interroge, on rit, on est constamment surpris et on finit même par comprendre cette histoire tordue de nains, de héros, de princesse, de dieux énervés, de trésor caché, de dragon et d’épée mythique.

Scènes, Jean-Marie Wynants30/05/’08

2008 - Festival Brigittines, Brussels - BE
2008 - La Manufacture Lausanne - CH
2008 - Théâtre National Brussels, KVS - BE
2008 - INSAS / Théâtre National Brussels - BE
2007 - Conservatoire de Mons, La Cambre - BE
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