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IVANOV – 2021


Ivanov Graphic

Chekhov’s Ivanov in a discreet, ridiculous, sexy and soulful new production. As simple as a mid-life crisis in its brutally ordinary state, this piece highlights dissatisfied characters, broken emotions, youthful restlessness and physical fatigue. Self-centered, indecisive and impenetrable egos crumble fiercely in the hope of imposing themselves on each other. The events turn into a gloriously tedious party where laughter and tears are indistinguishable. Hungry to escape the constraints of everyday life, intellectual and financial poverty, Ivanov tries to get rid of the lies carried by inertia and to make decisions, even if they hurt.

Text: Anton Tchekhov

Stage Directing: Arthur Makaryan

Starring: Distribution in progress in Paris and NY

Coproduction : Théâtre de l’Opprimé Paris and Artmakar, NY



visuel libartes/liberté

Miguel Zavala offers fourteen photographs. Fourteen authors work on these images, in Spain. Each image is then matched with a short play. The Theater of the Oppressed relies on the material of these short plays in its workshops.. sometimes one by one, sometimes several combined, sometimes all of them together. Different authors, actors and actresses, different directors are all at work. They open, as always, the stage to the spectator so that each one speaks up its ideas and that they all draw together a common reflection.

Conception: José Ramón Fernández, Carmen Loza, Miguel Zavala and Rui Frati

Collective creation by the troupe of the Théâtre de l’Opprimé.

Authors: Iván Artiles, Ester Catoira, José Ramón Fernández, Teresa Glass, Pilar González, Carmen Losa, Marta Oltra, Alejandro Pollán, Almudena Ramos, Mónica Senabre, Juan Vinuesa, Olalla Yáñez

Starring: David Antoniotti, Alain Carbonnel, Chloé Cayeux, Justine Chardin-Lecoq, Laurent Cogez, Delphine Dey, Maria Teresa Ferreira, Raphaël Fournier, Léo Frati, Rui Frati, Bastien Girard-Lucchini, Julien Le Gargasson, Jean Pavageau, Alain Ramírez Méndez, Fabiana Spoletini, Victor Tocatlian, Thierry Verin, Solange Wotkiewicz

Musical Director: Toninho do Carmo

Lights: Tanguy Gauchet

Coproduction: Théâtre de l’Opprimé, Paris and Laboratorio de Teatro William Layton, Madrid



Migracteurs v2_page-0001

At the beginning, in 2000, with Toninho do Carmo, Isabel Ribeiro and our troupe we wanted to talk about the place of women in Human Rights… With a baião we sang The State of our Rights (L’état de nos droits), in Paris, Porto Alegre and São Paulo… Today we are wondering, where are these Human Rights?

At the beginning, in 2000, with Toninho do Carmo, Isabel Ribeiro and our troupe we wanted to talk about the place of women in Human Rights… With a baião we sang The State of our Rights (L’état de nos droits), in Paris, Porto Alegre and São Paulo… Today we are wondering, where are these Human Rights?

Then, provoked by the electoral catastrophe of 2002, we shouted “never again!“ by staging those who left Europe while fleeing Nazism: refugees on a quay, waiting for a rescue boat, In the Shadow. Analogies …

During these past twenty years, shows have followed one another. Our creations as well as texts by contemporary authors, Taiwanese, Spanish, Belgian … Our will to sing hope and freedom being always intact we invite you to come back in the coming seasons.

In the meantime, to close the 12th edition of MigrActions, a nod to our paraphernalia, to certain times that we have already experienced with you or on tour, Tehran, Alba Julia, Milan, Venice, Modena, Pisa, Madeira …

And as we persist in reading, writing, singing, dancing, playing, partying … come, together let us cast off!

Theater and music.

Conception: Isabel Ribeiro, Toninho do Carmo, Rui Frati, Telma Savietto

Musical Director: Toninho do Carmo

Starring: Alain Carbonnel, Delphine Dey, Maria Teresa Fereira, Léo Frati, Stéphanie Marco et Solange Wotkiewicz



MigrActions 2018 - Boal et TO couleur

The judgment of Che.

The Theater of the Oppressed pays homage to the artists who in 1968, with Augusto Boal, declared themselves in civil disobedience against censorship, by questioning the public: « What do you think of Brazil today? »

With their First « Feira Paulista de Opinião », they publicly joined both the resistance movement to the Brazilian dictatorship, but also engaged in the revolution of manners which would overturn the world.

The Theater of the Oppressed troupe presents this text, for the first time in France, the protagonist of the evening of creative action, which will combine contemporary resonances and analogies in theater and music. Our constant work for a possible and better world.

Text: Augusto Boal

Homage to the 50 years of the ‘Feira Paulista de Opinião’

Staged reading.

Staged by: Rui Frati

Starring: Delphine Dey, Maria Teresa Ferreira, Leo Frati, Zoé Blangez, David Antoniotti, Alain Ramírez Méndez




One could call him a rebellious enjoyer. An unconditional lover of life confronted with the faults of humanity. It’s the poet who expresses his rage towards himself and his fellow creatures, and calls for hope. It is the depraved, complacent in the lust of time. A troubadour singing innocence amidst the bombs. Throughout his career, Jacques Higelin seems to have given himself humbly and without restriction to the service of a « better man ». Through musical scenes sometimes bucolic, magical, warlike or even apocalyptic, Higelin has given us the opportunity to hear his vision of our time for nearly 50 years

In the course of an evening, the actors of the Theater of the Oppressed’s troupe will have you discover this universe full of fantasy, cruelty and love. A poetic and joyful journey to the heart of human existence.

Staged and musical reading.

Homage to Jacques Higelin

Stage directing: Alain Carbonnel

Starring: Delphine Dey, Alain Carbonnel, Zoé Blangez, Antonia Hayward, David Antoniotti, Bastien Girard-Lucchini




“Author” works alone at home, locked up in his tiny studio. He is currently writing a play called “Fantasy”, personified by a female presence, whose face he varies according to his imagination… and with whom he shares an almost “married life.” His rough and uncomfortable life unfolds before our eyes.

This disjointed and impromptu life suits him well.

The accidental arrival of “Woman,” a neighbor, breaks the harmony of the imaginary couple between the writer and his work.

Text: Delphine Dey – Published at Editions de l’Amandier

Director: Benoît Felix-Lombard

Stage design: Luca Simonini

Musical Director: Toninho Do Carmo

Lights: Tanguy Gauchet

Gestural coach: Mikaël Wittincourt

Starring: Delphine Dey, Maria Teresa Ferreira, Raphaël Fournier, Toninho Do Carmo

Coproduction: Théâtre de l’Opprimé and Tea For Two Production




Exit the Brexit…

And so Great Britain wants to leave us, he who is so much a part of us, who fascinated and shaped us. He who initiated us in the 60’s to the wind of salutary and joyful madness that would blow over the West in the 70’s. And yes, with a decade in advance, the Perfide Albion and its Swinging London revolutionized the culture and mores, invented a new way of being, of living, of thinking, of creating.

Exit the Brexit…

And so Great Britain wants to leave us, the same who is so much a part of us, who fascinated and shaped us. The same who initiated us in the 60’s to the wind of salutary and joyful madness that would blow over the West in the 70’s. And yes, with a decade in advance, the Perfide Albion and its Swinging London revolutionized the culture and mores, invented a new way of being, of living, of thinking, of creating.

Will we ever be able to enumerate – despite its whims as a star – all that it was able to offer, of happiness, emulation, fantasy?

Following closely the Wilson government’s openness, London was the center of a world bursting with psychedelic counter-culture, hedonism, avant-garde and underground. They sent us Peter Brook, the Living Theater; their cinema – Ken Loach, Ken Russel, Lindsay Anderson. We sent our filmmakers – Antonioni, Polansky, Kubrick, Losey – who found their inspiration there; Mary Quant reinvented fashion and outrageously shortened the skirt for girls, the Beatles reinvented pop music and lengthened the hair for boys. However, the Rolling Stones cheekily revisited the rock n’ roll icon that would become as glorious as its Yankee alter ego. The disciples would follow: the Animals, the Who, the Kinks, Pink Floyd and so many others. They created the soundtrack of the sixties. And that of this « Swinging London » which unfolds in songs and memories of the time, the thread of these magical years as a final point in the 10th edition of MigrActions « so British ».

By: Dominique Dreyfus, Isabel Ribeiro and Toninho do Carmo

Staged and musical reading.

Musical Director: Toninho do Carmo

Starring: Anna Carteret, Alain Carbonnel, Delphine Dey, Fabiana Spoletini, Manuela Brazil, Maria Teresa Ferreira, Rafael Breda, Raphaël Fournier, Raphaël Barani

Video creation: Luis Melim



I'll never stop loving.

‘Wendy’ wakes up in the mind of José Ramón Fernández, Félix Estaire and Rui Frati to remind all of us that finance does not determine our love!

In collaboration with two magnificent English actors, Anna Carteret and Joel Anderson, along with other equally excellent members of our troupe, and carried by Stéphanie Marco’s music on the piano, we put into production the first movement of this new creation.

Five moments, from 1946 to present today, when the United Kingdom signified its belonging to the rest of Europe. And with it to the world!

Texts: José Ramón Fernández, Félix Estaire, Rui Frati

Staged and musical reading.

Staged by: Rui Frati

Starring: Anna Carteret, Joel Anderson, Stéphanie Marco, Rui Frati, Delphine Dey, Alain Ramírez Méndez, Annie Richardson

Music: Stéphanie Marco




A troupe prepares to play Don Quixote… the daughter of Sancho Panza, while challenging him and Don Quixote, discovers the hero, discovers the hero, his desire for justice, the value of utopias, dreams… the need for freedom. And he… let’s not reveal the show!

What are we planning? What do we project on the figure of Don Quixote so that it is more familiar to us? Photograms – pictures of films already seen.

To be what we were, when we were playing to save the widow and the orphan, when we were playing to make the revolution?

We thought of the theatrical space as an Artistic Zone to defend. Without any other assertions than to never surrender. Knowing that freedom is not a place – or perhaps a library (lost in the middle of La Mancha?), as Foucault thought. But practices. Therefore practice. Humbly but methodically.

The beatings, the coma, even death, nothing stops Don Quixote, who cares about nothing except his inheritance. What he got and what he’ll leave behind. Hamlet / Quixote – two figures that seem to work in a mirror – both works were written at the same time. The same concern that their story be told, printed, played. “The three biggest fools in the world were Jesus Christ, Don Quixote and me,” said Simon Bolivar. Their little failed revolutions – repeated, permanent. Don Quixote would be our art of repetition. Try, humbly, try again, make a mistake, try something else but try.

A dead class – who plays what? Summon these ghost characters and tell us a little. Tell the story of the desire to create a whole – to create autonomies.

We all have some Don Quixote in us. The text by José Ramón Fernández offers us the privilege of a beautiful challenge: evoking an exemplary figure and the energy echoed in his grand «idea», his utopia: Making women the future of the human being, putting the oppressed back on the map of hopes despite the thickening fog of out time. Assessing what has been, being and maybe dreaming. A wind of anarchism is blowing. Just go out onto the plains and walk the paths.

Benoît Félix Lombard & Rui Frati

By: José Ramon Fernández, Miguel de Cervantès

Tribute to the 400th anniversary of Miguel de Cervantes.

Director: Benoît Felix-Lombard

Starring: Rui Frati, Raphaël Fournier, Antonia Hayward, Delphine Dey, Teresa Ferreira
Lights: Yannick Poli
Sound: Raphaël Barani 

SAMEH – 2016



Sameh is a Palestian man like any other. He has dreams, ambitions, aspirations, hopes, passion, and a lot of worries. His destiny was to be born in a patriarchal family where the father controls everything. What could he do to escape the future that is waiting for him? And what can he do to change his life for the better? Let us look at this play based on the method developed by the Theater of the Oppressed.

By: Ra’ed Shoukni, French adaptation of the YES Theater’s play (Palestine)

Director: Rui Frati

Starring: Raphaël Fournier, Léo Frati, Raphaël Barani, Manuel Durand




Today, Europe is living in troubled times and seems to be questioning the objectives of the past seventy years: peace, freedom, school and health for all… The Theatre of the Oppressed is asking – and sharing with the audience – the classic question that utopia poses: “What kind of world would you like to live in?”

In this production, the actors prepare a show around an ancient legend, in which the actors and musicians act out their dreams by incorporating the utopias proposed by the public.

By: José Ramon Fernández and Arrigo Barnabé

Director: Rui Frati 



Vinicius de Moraes, born in 1913 in Rio de Janeiro, graduated in law, English language and literature, became a Brazilian diplomat stationed in Los Angeles, Montevideo, Paris, Roma, UNESCO.

Everywhere he went, he met great characters of cultural, artistic and human life, recognizing friends and making partners.

Instigator and actor of the main cultural movements of Brazilian life, from the 1930’s until his death in 1980, his texts and music are translated and interpreted by the greats of international music. “Garota de Ipanema”, sung in several languages, sold more than 25 million.

We will celebrate his 100th birthday with his music, his friends and his wanderings.

By: Isabel Ribeiro

Tribute to the centenary of Vinicius de Moraes.

Director: Rui Frati 


(NELSON OF RIO…)nelsonroderio-1

A theatrical and musical encounter with Nelson Rodrigues!

With the old “reac”, who left no one indifferent… An author who was unanimous in regard to the strength, beauty and relevance of his texts… that’s our goal!

Nelson, guiding force of a thirty-year dive into the life of Rio, from the 1950’s to the 1970’s: from the end of the Vargas dictatorship, the Estado Novo, through to the carefree years of modernity, of openness to the world, of the bossa nova and so many other cultural riches, to arrive at the dark years, the tragic period of the coups d’état and another military dictatorship, which silent us once again. 30 years in Rio which, at the time, was the natural habitat of the Brazilian intelligentsia, and being as always the cidade maravilhosa.

By: Isabel Ribeiro and Rui Frati, based on the work of Nelson Rodrigues

Tribute to the centenary of Nelson Rodrigues.

Director: Rui Frati

On stage:

Starring: Delphine Dey, Julien Naggar, Leo Frati, Teresa Ferreira, Vincent Vidal

Music: Toninho do Carmo and Brenda Ohana

On the backstage:

Musical advisor: Dominique Dreyfus

Lights: Etienne Soulard

Costumes: Telma Savietto

Images: Sylvain Barré

Musical Director: Toninho do Carmo 

LA TERRE – 2011

(THE LAND)cartaz-terra-finalisa

La Terre is a crime story. A crime without a criminal. One of those crimes that has “escaped us.” That silence has hidden. Silence of the people who looked away. Maria returns home nine years after the crime and realizes that silence is worse than all punishment.

This may be what defines the 20th and 21st century, our absent gaze, which has not seen the smoke in the sky of Buchenwald, which does not see the Atlantic full of dead Africans, or which pretends not to see.

Spain, the 1990’s. A rural family. A secret. A crime. A crime without a criminal. One of those crimes that “escaped us”. It is the story of the silence of a community, of people who have looked elsewhere. Maria, who dreamed of freedom, fled this family, this community, in order to live more freely. She returns home nine years later and discovers that silence is worse than all punishment…

La Terre came to us in 2010 during the festival “La scène espagnole d’aujourd’hui” (The Spanish stage today). Irène Sadowska submitted the text, finding that it echoed other plays and creations of our company. Indeed, La Terre speaks of Spain, as Traversée (Crossing) spoke of Brazil and Parfums de Plaisir et de Mort (Perfumes of Pleasure and Death) of Taiwan. But every time, it is us. These three texts have in common the fight against authoritarianism, against “silence”, against the invisibility imposed on certain human beings, the questioning of racism, sexism… So many motives join Le Terre in the continuity of our search, of our trajectory, and we could not fall short to the strength, the intelligence, the beauty, the fluidity and the rhythm of José Ramón Fernández’s writing.

In his writing, we find the same will as ours, to question the past of the characters in order to understand their present behavior. Thus, the relationship between the protagonists of a scene will find its roots in previous situations. This made visible, we can anticipate or clarify the dramatic issue, the relationship between the characters.

The clean writing of J.R. Fernández, the presence of the storyteller in direct contact with the public, are elements that echo within our usual dramatic practice. By adopting the frontal game, where the audience is the privileged partner of the dialogue between the characters, we make the choice of sobriety. No artifice, no excess. It is the text and the interrelationship between the characters that constitute the engine of theatrical action.

By: José Ramón Fernández
Adaptation: Isabel Ribeiro
Director: Rui Frati

Musical Direction: Toninho do Carmo and Brenda Ohana
Stage design: Sylvain Barré
Costumes: Telma Rinkes
Starring: Antonia Hayward, Delphine Dey, Leo Frati, Manuela Brazil, Maria Teresa Ferreira, Vincent Vidal, Simon-Pierre Ramon, Sylvain Rouillier 




From our last trips to Asia we returned with new inspirations for the company: first, the culture and the so complex situation of Taiwan, the former Formosa; second, the work of a great writer and activist, Li Ang.

Li Ang immerses us through multiple characters, in the heart of the Taiwanese universe, restoring the human detail, its ambivalences and its multiple belongings, its social, ethnic and cultural singularities: working these peculiarities as ammunition, she catapults us into the universal that resonates in every society and in each one of us.

Our adaptation for the theatre, composed of several novels within her abundant work, tries to describe the explosion of modernity of about 45 years of history (1945-1990), stirring the permanent round-trip with the traditional and even mythical register that characterizes the Asian attitude at its creative tops.

Carried by the double character of Rose/Ayako, the score is set on temporal backdrops and projections among the most current, it declines the fights against colonialism and authoritarianism: women’s rights, homosexuality and the fight against AIDS, respect for minorities and the struggle for democracy.

Like a recitative, the theme of food and sex as instruments of pleasure and death, articulates these tensions at work in our society. The 1980’s, with the arrival of AIDS and the beginnings of the democratization of Taiwan, are as much mentioned as the early 1950’s, in full white terror, with its corollaries of famine, political repression and extreme social oppression towards women…

The same idea guides the passage from one social class to another: to make visible certain misadventures present in the daily life of the miserable people, inhabitants of a fishing suburb and the protagonists of a separatist aristocracy, opposed to the ruling power.

In the same sequence we will see the political man resisting the dictatorial power meditating in prison before “La soupe de nouilles au boeuf” (The beef noodles soup) and “La femme du boucher” (The butcher’s wife) who, pushed to his limit, will end up murdering a rapist husband, his executioner.

Or even two periods of the same character, the confinement in The Garden of lived misfortunes alongside a father, great humanist, rebel to the power, to the power obtained by the association with the new economic leaders of the island.

It is with such bewilderment that we invite you, to the garden of the theatre of struggles and performances, at the crossroads of singular cultures, hoping that you will rediscover, from your intimate experience, the universality of the horizons animated by each character.

By: Li Ang
Adaptation: Isabel Ribeiro and Rui Frati
Director: Rui Frati
Musical creation: Arigo Barnabé

Musical Director: Toninho do Carmo
Illustrations: Sylvain Barré
Costumes: Telma Savietto
Starring: Antonia Hayward, Delphine Dey, Leo Frati, Manuela Brazil, Maria Teresa Ferreira, Vincent Vidal, Tatiana Reigota, Thomas Razet  



On stage, beings and animals of the forest, realism and mythology, take shape when two characters of the Brazilian tradition meet…

Pedrinho, a young man from the city fascinated by the stories of myths and legends about the Brazilian forest, is the result of the literary creation of Monteiro Lobato and Saci, an Indian legend: small and black one-legged, popularized by several generations of Brazilians. Myth, or perhaps representative of his people, Saci combines intelligence, deceit, vivacity, resistance…

Based on work by: Monteiro Lobato
Adaptation: Isabel Ribeiro and Rui Frati
Director: Rui Frati

Musical Direction: Toninho do Carmo
Singing: Maria Teresa Ferreira
Starring: Manuela Brazil and Leo Frati



The misadventures of a “special” mother due to the circumstances of her daughter’s birth: a blonde girl whose legs can’t carry her and whose IQ is “not testable.”

Emma’s only concession given by the State for her disability, a “reserved parking place”: a rectangle of white paint drawn on the pavement in front of her house. Little compensation for the damage!

But this victory hides new battles to come, this time against the rest of the world – unscrupulous drivers, careless friends, helpless family, miscarriages, medical omerta, in short selfishness of all kinds – and even more against oneself.

The daily struggle to make a living in a defined “normal” world. Would the idea of autonomy be a battle that concerns only the mother and daughter, or would it be a question of society that concerns us all?

The play, played in French, is performed by 4 actors and a musician. These changes, made “public view”, create a dynamic “of incorporation and abandonment” of the characters, who are supported by essential objects and clothing.

In terms of set design, a large, almost empty square is inhabited by a chair, two tables and the “reserved parking place”.

This layout essentiality makes travel easier and allows us to play in different spaces. From an Italian stage in Milan, to a bi-frontal in Genoa or to an arena in Paris…

By: Corine Jamar
Freely adapted by: LEO, Isabel Ribeiro and Rui Frati
Director: Rui Frati

Musical Director: Toninho do Carmo
Lights and sound: Tanguy Gauchet
Starring: Delphine Dey, Maria Teresa Ferreira, Leo Frati, Vincent Vidal



In Brazil, in 1958, a musical style was born and asserted as means of resistance to the silence that was about to fall on the country. It was both History and bossa nova. In this production, two sisters will choose opposite ways to resist. It is the story of a wrench with a background music.

Paris. Today. We evoke memories of a time when the music rhymed with the choices in our lives.

Brazil, 1958 -1968. The crossing of two sisters, their commitments to two ways of thinking left wing politics…
Is this a Brazilian story?
Is this a thing of the past?

Bossa Nova, carefree rebellion and everything after…
Songs that accompanied the word of a generation.
Contradictions, wrenches, disenchantment.
Understand without renouncing anti-conformism,
Don’t start the massacre game again.

By: Rui Frati and Isabel Ribeiro
Director: Rui Frati

Musical Director: Toninho do Carmo
Costumes: Telma Savietto
Starring: Christian Binetruy, Toninho do Carmo, Delphine Dey, Léo Frati, Malek Kitouni, Maria Teresa Ferreira, Benoit Pimont and Vincent Vidal.




Music was the basis for our first ideas back in 2000, which led to the birth of “In the Shadow”: when the word has no right to be heard, we sing! It still holds the main truth of our project.

The staging of music, performed in a particular context, has acquired unique strength and connotation: that’s our main goal.
Whether they were created for a specific purpose or corrupted by people’s imaginations… it doesn’t matter.
What makes a song like Grândola, which speaks of only a city, become a symbol of a revolution?
Our choice was to focus on four exceptionally dark moments: the rise of Nazism in Germany, the occupation in France, the dictatorship in Portugal – ended in 1974 – and the dark years of Brazil, 1964-1980.
Sung in a low voice, drenched in fear, these songs became a code of recognition between allies and sometimes, if the confidence reigned, they were transformed into a cry of rage and liberation.
It is this atmosphere of clandestinity and libertarian will that our Dans l’ombre – Un récital (In the Shadow – A Recital) proposes to the public.

By: Rui Frati and Isabel Ribeiro

Director: Rui Frati

Musical Director: Toninho do Carmo
Costumes: Telma Savietto
Starring: Antonia Hayward, Delphine Dey, Leo Frati, Manuela Brazil, Maria Teresa Ferreira, Vincent Vidal, Tatiana Reigota, Thomas Razet



Director: Rui Frati




40 years ago, João Gilberto recorded “Chega de Saudade”, his first album, which marked the beginning of the Bossa Nova “era”. To celebrate this event: a dramatisation, which embodies the feverish and creative energy of the time, using music and history as primary support.

The authors draw inspiration from the lives of two women, both from a rich, enlightened intellectual background. Vera, the worldly woman who goes back and forth between party and bohemia, and Lena, who has just arrived in Rio to sing. Together they live as the protagonists in the very moment that, in the Southern Zone of Rio, the Bossa Nova was born. With the freedom granted by creation, the show presents the evolution of their two lives parallel to that of the bossa nova and the country.

João Gilberto invents a totally different way of playing the guitar by creating his famous “batida”. He shows it to Tom Jobim, and it’s the revelation of Bossa Nova.

Initially confidential, because confined to the enclosed environment of bourgeois apartments and nightclubs, Bossa opens up to the world at the same time as Lena.

In the country, the dictatorship is looming. For these young people it becomes impossible to talk about only “flowers, peace and love”. Lena decides to broaden her horizons and Vera, too, in her own ways…

By: Rui Frati, Isabel Ribeiro and Frédéric Rousseau
Director: Rui Frati

Musical Director: Toninho do Carmo
Set design: Frédéric Rousseau
Starring: Anne de Caldéron, Delphine Dey, Rafael, Diego, Breda

DAMIENS – 1997



Prison, and punishment in general, is a political technology of the body, perhaps History has taught me less than the actual present.

A character: Fuchs? Damiens? Effe?

An entity able to respond when others are in distress; to take a stand when others are agitating.

An action: unmask our modern and democratic society, or show that the springs of ideology justifying medieval torture are not fundamentally different from those justifying prison today.

A place: The prison. That of sinkholes where even philosophers get lost.

Based on Surveiller et punir by: Michel Foucault
Adaptation: Frédéric Rousseau and Rui Frati
Director: Rui Frati

Musical advisor: Giuseppe Furghieri
Set design: Frédéric Rousseau
Starring: Christine Appella, Delphine Dey, Irene Di Dio, François Durègne, Stéphan Kalb, Grégoire Monier, Vijaya Tassy


This play inaugurated the Théâtre de l’Opprimé’s venue, in the 12th district of Paris.

Based on Iphigénie by: Jean Racine
Director: Augusto Boal

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