Les Règles du jeu

Summary

Our story begins in the heart of the oldest town in the Pays-des-Guerres, in the aftermath of the last of the last wars. Two children meet every day amidst fields of ruins, broken time and dust. Their dreams shape a new world. They are the actors in a magical construction game, a universe of all possibilities, which gives us a glimpse that the world could be whatever we allow ourselves to dream it.

There’s the siege of Aleppo, told through the tweets of 7-year-old Bana, helped by her mom. There are the images of bleeding children broadcast on screens the world over. Then, after the battle, there are the children playing marbles in a post-apocalyptic setting, relieved to no longer hear the bullets. Children rebuilding their school. Life goes on. What can you do when you’ve lost everything and nothing seems possible anymore? When, in the midst of a nightmare, you have to force yourself to dream?

Note by Lorraine de Sagazan

Creating a show for young audiences is one of the most exciting and dizzying responsibilities I’ve ever been entrusted with. This audience - many of them first-time spectators - are the citizens of tomorrow, and may well fill our theaters in a few years’ time. This audience - which I’ve had the opportunity to meet on numerous occasions during cultural and social initiatives in secondary schools - is what moves me in my research on stage, and redefines the contours of my work, because it’s in motion, under construction, while being rich and demanding.

With this show, more than ever, I’m seeking to raise the possibility of debate and reflection. More than ever, I’m trying to combine the highest standards of stagecraft with a playful, intelligible and popular aspect. My aim is to invite the audience to consider the circumstances that drive people to leave their country, the complications involved, and the frequent withdrawal of those who stay, despite the constant danger of death. I’m trying to allow us to reconsider the fact that our classmates, our next-door neighbors and our neighborhood neighbors may have an existence whose fractures we are unaware of.

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