La Colline presents two English-subtitled performance nights for each of these three plays, intended for a non French-speaking audience. A programme in English is also available on the night of the performance.

by Henrick Ibsen
director and set designer Stéphane Braunschweig
Thursday 3 December at 8.30pm
Tuesday 15 December at 7.30pm
After Peer Gynt, Ghosts and Brand, Stéphane Braunschweig continues his examination of the work of Ibsen by staging simultaneously A Doll’s House and Rosmersholm. What do the rigorist house of pastor Rosmer, where the dead come to haunt the living with their reproaches, and Nora’s house, in which a successful plan for family happiness seems to be playing out, have in common? Among other things, the way the characters are forced to an urgent, decisive and radical choice: the passage that opens before them – the hope for a new life, outside a world of conventions – contains a significant part of destruction. This radicalism slowly rises in A Doll’s house in a totally unexpected way when it imposes itself from the very beginning in Rosmersholm, politically and intimately, as the only way to reach happiness. Cast into the void, deprived of the values they had build their life on, Ibsen’s characters must make another path up, and inexorably work their way through to their own rebirth, whatever the cost.

by Albert Camus
director Stanislas Nordey
Thursday 3 December at 8.30pm
Tuesday 15 December at 7.30pm
February 1905, Moscow: a group of revolutionary terrorists are plotting an assassination attempt on the Tsar’s uncle. But here History matters less than the question clearly posed by Albert Camus (Nobel Prize in 1957): can a crime perpetrated for political aims be justified? Two conceptions of revolution clash: the one that has no boundaries and the one which refuses “to add to the injustice that already exists in the name of justice which is long dead”. From the Russian revolutionary terrorism of the late 19th century to the post Second World War debate about acts of resistance, up until the current state exploitation of terrorism, the question has remained a pressing one. The French director Stanislas Nordey deals with The Just Assassins as he would deal with a text written nowadays, actively tuned to the realities of its time.

by Bernard-Marie Koltès
director Michael Thalheimer
Wednesday 16 June at 8.30pm
Friday 25 June at 8.30pm
In a country in West Africa, the building site of a big French company is about to be closed down. Only Horn, the site foreman on the brink of retirement and Cal, an engineer, remain. The simultaneous arrival of a woman whom Horn has flown over from Paris to marry him and of a Black man who has mysteriously entered the city of White men to claim the body of his brother, who died the previous night on the site, ignites the latent violence in the situation.