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LA TERRASSE – Catherine Robert
Elsa Granat puts the pruritus of patriarchy to the test and present a show of acute dramatic, theatrical and political intelligence. The young actors graduating from the ESAD excel in it. Brilliant!
TÉLÉRAMA – Fabienne Pascaud
Elsa Granat does not hold back in her brilliant and electrifying show, with a stunning set design! A group of boisterous young actors, fresh from the ESAD (and who all have reached artistic maturity), revisit the story of their mother, Nora, with cheek, wit and zest, but from a child’s perspective...
SCENEWEB – Marie Plantin
We find there all of Elsa Granat’s feminist spirit, which never asserts truths and certainties, but always raises questions, opens up meaning, challenges thought, exposes our contradictions and the very impossibility of enclosing reality. As a result, her show is bursting with life and shared intelligence, brimming with an unquenchable creativity that draws on the infinite source of her own artistic journey and on a repertoire that is our heritage.
LA TERRASSE – Catherine Robert
Elsa Granat goes beyond the contradictions of the unbearable debate between rancid phallocracy and the bitterness of sterile complaint. The women she portrays are not silly birds, but rather rational and self-reliant beings, who move forward without splints, leashes, crutches or guardianships. This show gives you plenty to think about. It is a magnificent ode to freedom. The mastery and inventiveness it displays suggest that we can count Elsa Granat among the greatest artists of the current theatrical scene.
LA CROIX – Laurence Péan
Alongside her accomplice Laure Grisinger, Elsa Granat had already impressed us with Le Massacre du printemps in 2017 and King Lear Syndromeen in 2022, questioning the weight of patriarchy, its legacy, and how women free themselves from it ... or not. She captivates us once again by tackling this time one of Henrik Ibsen’s masterworks, A Doll’s House, in her own personal interpretation, skilfully intertwining the play written in 1879 with a reflection on feminism in the age of #MeToo.
ARTISTIK REZO– Hélène Kuttner
The young Nora is portrayed by several actresses, alternately, and that is what makes the show fascinating. Seeing her played by three young actresses heightens the strength and complexity of her character. She is no longer a character with defined, naturalistic psychology; rather, she embodies all young women, from France or the world, who can find themselves in the beautiful role of Nora in this space filled with children’s toys, between the kitchen and sewing, a domestic space dedicated to mothers.
CULT.NEWS – David Rofé-Sarfati
Elsa Granat and Laure Grisinger, who collaborated on the playwriting, have come up with some stunning literary and theatrical motifs. The spectacular sequence of surprises keeps us on the edge of our seats. For example, the hilarious prologue, or the meeting on stage between young Nora and the old Nora in a nursing home. The whole thing both upsets you and makes you laugh ... and makes you think differently.
Until 31 March 2024
NORA, NORA, NORA ! DE L’INFLUENCE DES ÉPOUSES SUR LES CHEFS-D’ŒUVRE
Text and direction
Elsa Granat
Théâtre de la Tempête – salle Copi – Route du Champ de Manœuvre 75012 PARIS
From Tuesday to Saturday at 8:30 p.m.
Sunday 4:30 p.m.
Duration 2h
Production: Companie Tout Un Ciel, the ESAD/PSPBB with the support of Théâtre de la Cité Internationale in co-production with Théâtre de la Tempête. The Compagnie Tout Un Ciel is sponsored by the DRAC Ile-de-France. Elsa Granat is an associated artist at Théâtre des Ilets – CDN de Montluçon and at Théâtre de l’Union – CDN du Limousin, and is a member of the artist house La Kabane.
With alternately Maëlys Certenais, Antoine Chicaud, Hélène Clech, Victor Hugo Dos Santos Pereira, Niels Herzhaft, Chloé Hollandre, Juliette Launay, Anna Longvixay, Clémence Pillaud, Luc Roca, Lucile Roche, Clément-Amadou Sall, Juliette Smadja and two amateur actresses Gisèle Antheaume, Victoria Chabran
- playwriting: Laure Grisinger
- assistant director: Zelda Bourquin
- set design: Suzanne Barbaud
- lighting: Vera Martin
- sound: Mathieu Barché
- stage and general management: Quentin Maudet
- stage management and wardrobe: Sabrina Durbano
- choreographic approach for the tarantella Tullia Conte, Mattia Doto
