“La Chanson [Reboot]: Exploring Consistency in Tiphaine Raffier’s Theatrical Universe”

By recreating his first piece, La Chanson (2012), which then became La Chanson [reboot]Tiphaine Raffier offers those familiar with her later works the chance to better grasp the great consistency of his theatrical gesture. Anyone who discovers the work of the author and director with this show is not left out.

Already rich, this fiction is appreciated for itself and constitutes a introduction ideal for other plays, one of which – The Response of Men (2022) – is still on tour while another, Némésis, is making its debut at the Théâtre de l’Odéon in Paris.

La Chanson is set in the artist’s hometown: Val d’Europe. More than a setting, this place imitating other cities of old Europe, where according to the artist “nostalgia reigns supreme”, is a character in its own right. He is the first of systems clos explored by Tiphaine Raffier with her company La Femme coupé en deux.

In the setting of a Maison de la culture or other somewhat faded multi-purpose hall, three actresses – Jeanne Bonenfant, Candice Bouchet and Clémentine Billy – subtly tell through fiction what a city founded on a lie does to the people who live there.

complex universe

In a predominantly pop aesthetic, regularly disturbed by incursions of reality in the form of videos animal or urban, they embody a group of young girls who meet every Thursday evening to rehearse a look-alike show from the Abba group.

The song [reboot] taking place in 2012, its protagonists, absorbed by the hit “SOS”, which they sing on repeat, are products of their time, nourished by a past fabricated from scratch by Walt Disney. The revolt of one of the girls, Pauline, who decides to write her own songs, reveals a whole mechanism that oppresses and conditions.

With La Chanson, Tiphaine Raffier poses the