 n'a-t-il pas du tout un hâle ? j'ai des couilles d'alimentation ah non mais c'est les gens de ... quand on... je n'ai pas de peinture j'ai pas de peinture il est fume oui c'est notre copine je ne vous fais pas attention la peinture pour la voix s'il vous plaît, s'il vous plaît s'il vous plaît s'il vous plaît s'il vous plaît s'il vous plaît oui s'il vous plaît à l'ámite de je n'ai pas de neuf travail parce que je ne suis pas un écbar которую je n'ai preuver et juste une tradition donc soften en terme d'un reste de 3 centres料tes interetysines, LOTS, Italyie en Espagne. Confrontant le présent, nous pensions que c'était un bon temps d'adresser au sujet de la migration. Pour être honnête, je pouvais dire que le sujet de la crise de la migration, comme on partait l'opinion que la migration elle-même est quelque chose de très ordinaire, juste un phénomène qui a toujours accompagné la humanité ainsi que beaucoup d'autres espaces. Personnellement, je suis un fils, un grand-son, et un grand-son grand de réfugiés, et encore un vrai citoyen français, et même la purest expression d'un parisien que vous pouvez trouver dans cette assemblée, un parisien de la bonne banque. Je ne prends pas de votre temps pour exposer ma vie privée. Je referai au facteur que dans tous les projets de la migration, ou aimé pour les enfants et familles nous l'avons entendu durant le temps que nous avons préparé cette conférence, le point de vue du citoyen n'est pas séparable du point de vue du professionnel. Pour dire le mot, c'est un théâtre politique. En fait, ce n'est pas news. Les enfants de Heracles, un clip de Eurypides qui a été écrit en 5e siècle avant notre temps, les citoyens de Athens disaient qu'ils doivent respecter les lois sacrées de la hospitalité de la ville par hoster et protéger les enfants de l'héros de la mort, l'Héracles, ou d'engager en un air, en un air, avec le roi de la main, Argos. La crise de l'inclination est en train de changer les idées de l'héros de la mort dans la société européenne. La tragédie dans la néan-méditerranée, la différence des États-Unis, l'exanophobie de l'héros d'Europe n'est pas des enfants, d'accord. Les notions d'invoyabilité de leur personne ou de protection inconditionnée pour eux sont détenus par le fait. Les violations d'un droit fondamental sont en train de devenir communes. C'est le cas. Plus et plus d'artistes, en Europe, sont en train de prendre la situation en compte dans leur travail, dépitant les enfants déplacés, les familles, les transitions culturelles et les vies à être réveillées. En faisant ça, ils offrent aux audiences de nouvelles perspectives de l'héros d'Europe et nous ont appelés à changer les perspectives. D'autres travailleurs travaillent avec les personnes concernées, en jouant pour eux ou en offrant leur opportunité pour participer dans les activités artistiques. Les performances d'Ottawa sont eux, percevées comme un endroit d'entreprise et d'intégration dans la ville, dans le contexte marginalisé d'enfants et d'adultes. Ce que nous voulons faire ici, c'est présenter particulièrement un travail signifiant par les professionnels européens. Je n'ai pas dit que les travailleurs européens travaillent parce que il a été évident durant l'exchange que nous avons tous. Toutes ont leurs propres réponses et leurs goals, dans tous les contextes et les ressources disponibles. Nous espérons que nos décisions permettent d'un premier changement plus précieux et plus stimulant d'un travail signifiant de la communauté globale. Il y a des initiatives partout en Europe et je pouvais mentionner les works inspirés de beaucoup de compagnies et théâtres dans les balcans ou les gens jouant pour les enfants et les familles en Malta, en Lampedusa et dans les réfugiés qui viennent dans le Lebanon ou en France. Bien sûr, c'est un liste ouvert et une partie de la discussion que nous allons avoir après les présentations est sur ce que sont les next steps, comment nous gâterons toutes les énergies et les travailleurs de l'expérience Vous avez déjà rencontré Giaome Vello il est un responsable d'un artifiste dans le drama school de l'IEDA dans l'action de la performance plural qui vous a pris part il apprécie l'émotion Qu'est-ce que ça fait quand vous ne pouvez communiquer avec les gens autour de vous Annabel's work Annabel Sergent dans Images Images sont extrêmement marquants de migration dans le space social including in the life of children and they tend to invade all the mental space Like an engineer Annabel develops dramaturgy through making the best of a whole set of resources networks and tools where there was only emotion she builds theater The works of Isabelle Isabelle Hervouet are the expression of her humanism in the spirit of the great European tradition As she says it is all about issuing images from a relationship between two human beings here duettes composed by an adult and a child and a position regarding immigration This approach involves keeping daily life and its security at a distance for instance by going house and by living friends to work with people from Lebanon and Egypt Barbara Pizzo is the vice president and a cultural consultant The work she proposes is the result of the reflection of mobilisation and finally the process of a role national centre as it is in Italy taking action in front of the non so specific nowadays political situation in Italy No, I give the floor to Isabelle to Annabel So Hello I don't very speak so excuse me pour commencer So hello My name is Annabel Sergent I'm a writer, director and actress I run the Loba Company in Angers, Ménéloir France, Europe World This is my passport I've rarely rarely cross the border because my show are written in French and because when I was a child nobody thought me the pleasure of traveling I had to learn it by myself and I like that to move to open my eyes to new landscape to understand different country the test of elsewhere and the test of other I'm lucky my French passport make me an elastic travel I can return to my starting point a priori without any obstruction without any worry I write childlike because it's a place you never will live Marguerite Duras, a French writer used to say there is always something of childhood always and then in 15 in France the terrorist attack the victim, the state of emergency the tension state lead in the world country what are the children going to do with heaven how can I explain to my children what's happened how the children integrate this event to buy themselves as adult 15, in Syria we heard a lot about Raqqa the terrorist group Daesh has installed his caliph with all the violence that we know by harming the children of Raqqa who then became childsoldiers cannon fodder we could see photographs and report circulating on the net so I've decided to creating play about war and exile and to try to draw an outline addresses addressed to the youth what do children dream about in war time this is the subject of this creation to speak of the exile and the war of other without including the western point of view seems to be indescent the France is the first the fifth fifth or three for selling arms so for that we can't get out of history so in each show the story include a French character the theater is an attempt of the symbolic reparation for this we must include ourselves as subject separating the tree reading a human story which politics don't couriently allow today offering the spectators the ability to look at the real and to open new door space to sing, opening possibility to show for young people and teenagers are created where are you in arabic the story of naji who finds himself on the french land and shell shock the story of a woman journalist war reporter I'm going to talk about weenak today and we want to show you the teaser je suis le poussière ce n'est plus de l'eau qu'il pleut mais de la poussière tu imagines une rivière de poussière comment on nage dans une rivière comme ça la guerre ça ajoute de la poussière à la poussière ça rend toutes les peaux grises et vieilles et puis ça fait mourir les gens très prématurément je lui ai souvent demandé de me la raconter son histoire il me l'a raconté désordonnée so weenak is a story of lili and naji two teenagers that everything separated meet one day by chance thanks to a bus ticket bus ticket is a little passport in the city she was born on the french land and him in a country at war he arrived in France as an inherited foreign minor always hugged to his mobile phone he sent texte message to find his little sister laia lost on the road to exile during the crossing of the mediterranean sea he asked to keep a promise made to his grandmother mama who stay in the country he had to phone mama to tell her that he and laia are safe on the french land as long as naji had not found laia he can't call his grandmother mama and he then exiled both from this country but also from his promise lili bring him back to the present time by her simple presence luminous and clumsy one day naji resave a call from italy laia is alive in a camp for refugees he left lili very quickly to find his sister leaving her lili with her question, her dream and her hope i have catrin verlaghi to work with me on the writing reynac partners to give us on creation we had residences in two different class rense and champagne and we met children and youth during one school year a few days by months so we go to rense these students are newcomers in a secondary school in rense they learn french they come from different country about a source of them fled their country eritrea syria, sudan, iraq others arrive from pakistan spain, italy, algeria florida equatorial guinea romania, turquay, bulgaria, cameroon imagine the difficulty to met when you don't speak the same language it is a little ear except that i have time to write my text and i have it translated to english so we decided with the teacher to use google translate it's a little epic with computer in the classroom and keyboard in yudu different arabes, marocans, syroibanes, iraq oh you will tell me that the translation is very approximative with google translate and yes but it's precisely that it give us the opportunity with the young people to go back and forth in the language to try to understand us travel in the language during once couria we met them organize writing workshop listen to music and wenaq reading when i came back to the hotel at night i wondered what this meeting broke me too much empathy or too much distance it's always too because the story is amazing for some and they have at the same time an incredible life force a desire to know to share to meet so get out sentimentalism what's the solution to meeting we've tried to remain delicate in your work with these young people because it's not a question of facturing the story of collecting them i will speak here rather immersion immersion travel in language give us us during one couria creating between these young people a network of solidarity translation asma translate into syrian arabic taken by salma who translate from morocan arabic to iraqi arabic somewhere translate to english from truquish in short it was the door bubble under my eyes i exulted and they loved it a day first writing and we were certain to read even the iraqian usif who speak very little french he said 3 words but he was happy a very strong moment in front of 2000 adolescent admirating spectator an eritrian girl aunt and she has an incredible story and she is a beautiful person and she says i was able to cross my first text writing in eritrian and to say it in french allowed me to cross the image without being some magic to travel in the language at this moment i understood that the exile is from his country and especially from his mother language where do we think from where do we dream from how do the experience of exile and the turning away of the language come to change our inscription in the world i believe that with poetry we can reconstruct something working on the exile without asking the question of the lost of the mother mother language would have been a misinterpretation when i was first written in french all the text but as we receed we made all in the french text and ask a linguist to translate into syran, libanese, arabic all parts where magic intimacy appears french is written from left to right arabic from right to left a symbol of the meeting we work in video that we call ghost world world that will be floating presence bottle of the sea four ghost world sister citerrancy weinac they represent the absence of others but what about the french point of view so we travel in champignons they are champignons they live in a small village called champignons not far from Angers with catwin verragué when we were not in the class of France we were in that of champagne we researched with them to work on their decimation of war and exile it soon became clear that for them the war was the attack we had just suffering in France so of course the mist, the meeting was less exotic less sentimental because our story our culture had something similar and this is where it became interesting to ask the following question must we be so different for human meetings to exist are lives worth more than others depending on what we have lived from our rating workshop with them imagine the scent of power in weenak which raise the question of the difficulty of the positioning versus whether or not to welcome an exile at all do you remember your father's face when he saw me in the living room that night and my mother we cannot keep him here and why not because it's not legal we cannot it's legal to put it back in the street and fortunately yes and it's human do you want me to do that and what are you going to do with him what will he do all day when we are at work and Lily is going to school I don't know it is out of the question that he stays alone at home we do not know him you don't help me yes I help you I help us I'm not saying it's ideal or it's easy but I'm realistic we were able little to little with the help of teacher to talk about the image students were watching on television migrants coming into the European space and also talk about their feeling what was said at home or not the same we read the words of children words for words so we can imagine that we tell in the home so one month one month before the creation of renaque we needed war image in the show at the moment Lily stole Nagy mobile phone and look in it like a Pandora box we received 150 drawing by this school and it was possible because we had work a lot of time with them so this meeting with the students of Champigny or Reims required a lot of delicacy openness, adjustment it became clear to us that we must do in the reality what we not tell a meeting that change the trajectory of your life in the absence of being able to see each other physically this young people from Reims and Champigny have become pen friends exchange of postcards live story photo in the reality so how to deal with the war on the set this is the scene of renaque the scene of renaque Nagy and Lily enroll themselves in a happy football game but Nagy's memory explode Lily continue to stand by her side despite the shock even she don't all understand so it's brotherhood your task as creator is not to put a veil on the reality we can't start difficult fragile overwhelming things but there we must be use a light at the end a possibility some poetry so I would like to finish this talk by appointing journalist who have fade renaque's work so this drawing is made by a journalist Elisa Perrigueur a french journalist she write article for IFP or other french newspaper Mediapart Le Monde extra she pass a lot of time in grace, italia and other pay calais etc she want the louise vice award price for her work on migrant Elisa Perrigueur like other journalist say that it's not a migrant crisis but a crisis in the host country Elisa Drou to better reflect the reality of refugees and migrants he has some of his drawing that inspired renaque so we go on this is an image of the world so so this is here is my passport my name our friend all the truth I am Isabel Agüet but what is not indicated on my passport is that I am an actress a director and a painter with Paolo Cardona an Italian artist living in France I lead an independent company for 21 years called SCAPA SCAPA means in Italian GO we create shows, performances installations, workshops in all types of places for a mixed audience of children and others our conviction shared by all of us I'm sure you're there is that art is one of the mediums for the freedom to think for oneself a tool to become a subject of one's existence that it must be offered to all for two years I have been working on shows in Marseille France, Cairo, Egypte and Ramana, Lebanon with artists and children French, Egyptian, Lebanese and Palestinian from Syria living in Lebanon these are duets with another child called Miro duets the Egyptian duo is called the weaker of the two the Lebanese will be called spaces or how to be outside without getting lost the French was called the courage of the birds I am here to tell about my travels from the north to the towns of the Mediterranean sea and back home I am here to tell about all the travels from France to Egypte from Egypte to France from France to Lebanon, from Egypte to Lebanon from Lebanon to France I am here also to tell about the incredible journey of artistic sharing with children and artists from another culture what do we see in this picture children and an adult in a forest they seem to to sleep but in fact they are dancing in general when I specify where the picture was taken in Lebanon I can see in the eyes of my interlocutors all a lot of images about the civil war in Lebanon if I add that the children are Palestinian refugees from Syria living in a camp in Begut of course a stream of other images arrive it is normal we see these images for so many years they are in us in our mind but what made us choose these children is that they are children first children with skills courageous, hospitable hard working of course their personality is built over the joy and dramas they go through and it's with all that that they are present on stage that they live the relationship with the adult with whom they play and dance but it seems to me that we as from Europe must guard ourselves against the business of shameful conscience that we have in front of what our nation has done and keep doing on the African continent and in the Middle East this exacerbating empathy can block the perception of children and even make us make us make serious mistakes in reality we know nothing about them what they have experienced what we will learn will come from them from what they will let out during the real source and the moments of daily life that we will share this will come from who they are simply so I can say that in this picture we can we see children and adults dancing in the forest I present you the adult Aurélien Zouki the adult of the Lebanese duo and one of the teenagers is Oma Baikir the teenager of the duo no never I am my research goes through three places the garden, the house and the paradise linking the house with the garden and the paradise is a stimulation to imagine life in a place that one would consider as habitable livable and which would be transformed with the seasons, the displacements the needs but also at random of the voluntary or involuntary errors of its inhabitants I call it gardening together dwelling is existing but it is also to occupy a place to stay sustainably sustainably yes with the time with the time it takes for it to grow that it dies that it decomposes that it regrosse here or there the gestures of gardening improvising, playing a show painting or actions that can be done everywhere and by everyone they share the garden's body the body is both the tool and the subject of this work it is what who tells I present you the Egyptian duo Mohammed Shafiq the tourist one and Mohammed Fouad the child to write a show with a child of an adult is to write from a cell that is perpetrated in the history of humanity even in a known place in a known identity it is what is there and who lives it is universal children, artists and stage leaders to the essence of the relationship and because they are children place the collective research and policy in the course of this work we must without even setting one play with all the images including clichés which arise when an adult and a child are together a man and his son two brothers the child who recognizes himself as an adult the adult who recognizes himself as a child in the same way we do not think the contradiction for example the violence which this relationship sometimes can contain we approach it from what we observe and experience every day we approach it from who we are made of our pathways of children and adults at the weather affected plants the story of each person makes the body grow and develop in a single way the views are mirror between the adult and the child between the performance and the rest of the artistic team between the stage and the audience between two cultures the chair you can see it this chair was found in a libanese free market it is a typical old common libanese chair for me it is a French chair we have the same in France they are called chaises bistro for a young palestinian from Syria who lives in Lebanon this chair is typically Syrian there was the same at his grandmother's house in Syria this is how a little example how an object as simple as a chair can become a rich medium for writing a multi-cultural narration my subject of exploration also concerned the Egyptian and libanese societies there are people there who think and act in the fields of art architecture gardening education because it is perhaps the only way to move towards a world a world liveable what pins us so strongly is the attention we pay to children thinking of the world from and for children is like thinking of a world that is livable for everyone I found in these countries an urgency to create this creative force lived with joy in spite of everything comes like an arrow to touch mine it's clear if I go there it's because something looking at me and because as an artist I need to be there to go forward and to talk differently about what we have inside and what we live this picture is called I'm learning Arabic it's an imaginary Arabic writing composed with Argy that I found on a beach on the north coast in France I don't speak Arabic I went for the first time to Egypt and Lebanon to play Uchelini a show of painting a movement that is open to all audiences from next month I play Uchelini for 20 years now in 2014 I was invited to Cairo by the Akaway festival it was even if I had really good friends brothers from the African continent from the Middle East it was the first time I set foot on the continent in 2015 after a tour in China that I was also discovering for the first time I traveled in Lebanon for a series of performances and workshops organized by the French Institute of Lebanon tour during which I met the people and the work of Karada Collective and Aurélien Zouki in the beacher in the forest with the children conversations with the public questioned me revealed new fields of perception I returned to Cairo my own I had to go back there the passport you saw as Annabel told you before allows me to travel with a lot of freedom I'm lucky I don't need a visa to go to Lebanon when I'm arriving in Cairo I have to pay my visa and it's okay in Lebanon when they ask me why are you coming to Lebanon I just answer I'm going to meet friends and it's okay I go welcome I went back to Egypt many times each time I was welcomed it is the people who open the doors of a country I like the sensation the reality that is pleasant and uncomfortable to understand nothing or almost nothing to feel a foreigner and at the same time as at home one lasts a lot it gives artistic ideas modifies the way of thinking it gives forces for what is fundamental for oneself in an artistic approach that is inked in life and it is thanks to several days with no real project other than the meeting and the discovery that I became the first artist hosted in residence at the French lycée in Cairo this is my home in French lycée I had workshop with students but during my residency I invited Olivier Guimard a French visual artist Egyptian dancer and choreographer and Shahima invited Mohammed Shafi dancer, choreographer and musician the big one you saw the tall one you saw in the picture for six days we improvised together dance painting music video and it is because we practiced together that Mohammed Shafiq became the adult of the Egyptian duo as the composer of the music of the show and Olivier Guimard the artist images of the team if I explain to you how the meeting with the artist of the duo occurred it is that it seems to me really important to insist that all this is not born from a call for projects which would have had to comply and would have by necessity directed the composition of our group it is by following a path of pregnancy with the Egyptians and with the Lebanese that the drawing of a project in collaboration took shape I mean working outside outside of Europe outside of our country is not easy in that way it's more simple to stay at home but I had the chance to work with our producer manager and because she has a long experience of collaborative project with structure like NGO schools and with artist on the African continent or in Asia South America and it is because we share our professional skills that these duets can emerge and now I change yes because it's not easy to build this kind of find the money to organize and to be really open I met the children in schools they are lead by NGO in Cairo it's a double hammer that welcome 150 150 children from a poor area and in Beirut it's in a one hand that welcome 15 children Palestinian of Syria living in a Palestinian camp and they are mixed boys and girls those schools give children the opportunity to have a life a job other than those to which they are predestinated with regards to the environment traditions and culture from which they come and those schools are the interface between us and the family the landscape that these encounters can grow what they can produce as artistic forms can only arise from a pooling of our context respectively with our partners the schools always artists it is much simpler to stay at home as I told you this contains and the strong contradiction it contains in the perspective perspective perception of the means or conditions conditions available to the other for living bring us back to something essential and an economy of means to say what means what this kind of collaboration requires is the absolutely necessary time for the two parties to explain and listen the incompressible time required for approaching another thought for another way of working without this time no agreement can be found their organizations in all countries that help for mobility but the French network abroad are not so rational if the exchanges do not go in the direction of the policy of France at that moment we meet today many difficulties to bring in Europe artists from countries whose stability is fragile and this can create fears or tension when we have to choose the artist children in all circumstances even those extremely dramatic have the ability to make house a livable place at the time of their game their curiosity which some call childish curiosity is actually a life drive that we have to feed through our lives this has no age and there the child is obviously not the weakest of us it is on the basis of mutual trust that the world living for the two is born and return on stage the stage is their garden their paradise the time of the performance showing bodies that grounded in their history showing them finding an agreement is the place of my commitment the artistic creation carnal and intuitive is the refusal of the dismemberment of the bodies and of the world to join what Annabel has just said it is also a powerful way not to let images of the destruction of bodies take possession of ours and prevent us from being the experience of otherness the meeting with a child or the one with another culture seems to me the only way to resist to the fear that grows around the artistic exchange creates a lively place from which to face fear and prejudices mine those of others those of a professional environment those of a nation a continent touch to touch to be touched this is perhaps the paradise to dare to say together propose a 10 minutes coffee break for everybody to chill down alors