“A few strokes in a single sweep make straight lines
and straight lines naturally make houses.”
Henri Michaux, Children's drawings.


First performance 2014, Giboulées, TJP CDN d'Alsace-Strasbourg


“Under the skin of the walls”: A living space. Is it a house that lives in this space? Restitution of entities steeped in memory".

After a long period of absence and silence, an ethno-botanist called Garance, 103 years old, looks back over her life.

She tells of her childhood home, her travels all over the world in search of rare, exotic plants and her own self, the places she lived in, war, sickness, the separation from her children, her healing and her homecoming to be among her loved ones.

A passionate encounter with a woman who is both extremely old and timeless and young souls in search of meaning.
Garance's story is written in the lines on her face, the graceful gestures of her hands and the slowness of her breathing. She brings us into contact with ancient, mythical times. This is her dance.

Garance is 103.

Garance follows the thread of an idea, of a non-linear story. We are plunged into the heart of her emotions. Chronological milestones are muddled and reveal her imagination. The words accompany the movements like a sort of music and give a prolongation to other possible interpretations of the image. Garance travels back through time.

She is 64.

The home of Garance comes together: the framework of a puppet theatre is filled with images, shadows and furtive or gentle figures. Are they a reflection of the character's inner world?

The puppet theatre, a small cellular structure, opens, unfolds and refolds. It metamorphoses like an origami figurine. It harbours Garance's souvenirs, past and future. Her soul has an effect on its surroundings the way an idea affects an action. Garance travels back through time.

She is 37.

The red Garance, here, is the circulating and palpitating life at the centre of being.
From Garance’s point of view, her absence was a journey, a profusion of surreal colours and chaotic landscapes.
The walls of the Castelet are covered in flowing, translucent or organic materials. As the story unfolds, the fabrics emerge, are uncovered, bared, and reveal what is mysteriously and symbolically hidden under Garance's skin.

A secret is also revealed: an illness has left traces in the memory of her flesh; diagnosed as incurable, it has nonetheless been transformed: today, Garance comes back healed.

The articulations of the Castelet echo the correspondences between the vital parts of the body and those of the house. The plant world is present in a unique way in each place visited, imprinted on the mobile puppet theatre, imposing itself like an umbilical cord between the inner microcosm of the home and the outer macrocosm of nature. Garance travels back through time.

She is 17.
The puppet theatre then becomes a symbol of the world of the senses, of Man’s continuous quest to protect himself and reach out and explore the world around him in an almost pagan merging with wild nature.

The homes visited or lived in are all in the small puppet theatre. They reflect “states”, instants of life or moments of transition, like so many shelters for the visual and audio expression of our inner movements.

The puppet theatre is transformed into the last abode, a place of solace and respite, a cradle for the final journey.
Garance is 103; she is a little girl.

Shadow theatre, Garance Comes Home  (under the skin of the walls), is composed like an ode to life, an exalted attempt to return to lost unity…

The creative team

Artistic design, shadows and figures: Aurélie Morin
Puppeteer: Carine Gualdaroni
Choreography assistant: Chloé Attou
Scenography assistant: Elise Gascoin
Puppetry objects: Elise Gascoin
Plastic art productions: Valentine Canto-Martinez, Suzy Vergez
Fabrication of the puppet theatre (Castelet): Pascal Jean-Fulcrand, Rita Tataï
Other fabrications: Messaoud Ferhat, Christian Rachner
Composers: David Morin, Aurélien Beylier
Costume design Hélène Duclos, Clara Ognibene, Noémie Edel
Stage manager: Aurélien Beylier


TJP CDN d’Alsace-Strasbourg,
Le Granit, Scène nationale, Belfort,
Le Théâtre de Villefranche sur Saône,
Le Train Théâtre, Portes-les-Valence
Le Groupe des 20 Scènes publiques en Rhône-Alpes, Le Théâtre de Privas, La Rampe-La Ponatière scène conventionnée d’Échirolles,
La Maison des Arts, Thonon-Evian,
Le Polaris de Corbas, Le Théâtre du Parc d’Andrézieux Bouthéon, l’Espace Albert Camus de Bron, Quelques p’Arts Centre national des Arts de la rue in Boulieu-lès-Annonay with Annonay Agglo - Saison culturelle.

Assistance for creation

Ministry of Culture/DRAC Rhône-Alpes, Conseil Général de la Drôme
Théâtre de nuit is subsidised by the MCC DRAC Rhône-Alpes, the Rhône-Alpes Regional Council and is supported by the Departmental Council of the Drôme and the Community de Communes of Crestois and Pays de Saillans -Coeur de Drôme.



PDF Dossier Spectacle (3,8 Mo)

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