Two English-subtitled performance nights for each of the three plays described hereafter, intended for a non French-speaking audience.
A programme in English is also available on the night of the performance. A season ticket including the following subtitled plays can be subscribed to at a special rate — 13€ per play instead of 27€ (full ticket price).

by Henrik Ibsen - Une maison de poupée
A production by La Colline - théâtre national
Thursday 3 December at 8.30 p.m/Tuesday 15 December at 7.30 p.m

Stéphane Braunschweig is familiar with the world of Ibsen, and continues his confrontation with the Norwegian playwright’s works by staging simultaneously Rosmersholm and A Doll’s House, a play in which a successful plan of family happiness seems to be playing out. Nora, the main character, finds herself caught up in the emergency of a totally unexpected and radical dilemma that suddenly emerges in the peaceful world of A Doll’s House. She, who seemed to have based everything on a compromise, is cast into the void, forced into action and to give up everything she ever believed in and believed herself to be, deprived of the values on which she had built her life, and inexorably work her way through to her own rebirth, whatever the cost.

by Albert Camus - Les Justes
A production by the Théâtre National de Bretagne - Rennes
Saturday 3 April at 8.30 p.m/Tuesday 20 April at 7.30 p.m

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 - Combat de nègre et de chiens
A production by La Colline - théâtre national
Wednesday 16 June at 8.30 p.m/Friday 25 June at 8.30 p.m

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 young 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 by chain reaction. The play also deals with such main themes as the fear of desire, the bodies’ failures and the feeling of frustration. For this production, Michael Thalheimer, an eminent German director, for the first time presents a work elaborated with French actors and stages one of the major French playwrights, Bernard-Marie Koltès, who died prematurely, precisely twenty years ago.
For the German-speaking audience: the 4 representations of the play below are presented in German with French subtitles.

by Gerhard Hauptman - Die Ratten
A production by the Deutsches Theater Berlin
Friday 19 February at 8.30 p.m/Saturday 20 February at 8.30 p.m/Sunday 21 February at 3.30 p.m and 8 p.m

The play written in 1911 by Hauptmann, who is considered a major playwright in Germany, begins in the disused attic of a barracks where a former theatre director is giving drama lessons. Two women meet there for the worse. One of them, yearning for a baby, persuades the other to relinquish her own child. The tragedy unfolds as the latter, a servant, tries to reassert her maternal rights, and comes up against the former’s social superiority. The play is also nourished by the dark poetry that seems to be rising slowly from Berlin. The radical approach of the texts combines with the physical intensity of Thalheimer’s productions to make the author’s words, thrown at the world, regain an emotional charge imbued with the implacable force of topicality.