Artist: Stéphane Lavoué
Curator: Li Zijian
Organiser: Three Shadows Xiamen Photography Art Centre
Supporter: Consulat général de France à Canton, Institut français de Chine
Duration: 2024.04.20-2024.06.10 (Closed on Mondays)
Openning: 2024.04.20 15:30
Venue: 3rd Floor of Building 2, Xinglinwan Business Centre, Jimei District, Xiamen
The Comédie-Française, also known as "La Maison de Molière", was established by King Louis XIV in 1680 and is one of the world's oldest national theaters still in operation. In 1799, the theater moved from its original location in Paris's old quarter to its current location on Rue de Richelieu in Paris, becoming the permanent home of the Comédie-Française. This building belongs to the group of buildings called "le Palais Royal" a royal palace, that used to be Louis XIV home before in his childhood.
Today, works by classic French playwrights such as Molière, Racine, and Corneille are performed alongside modern plays in the theater. The Comédie-Française is not just a symbol of French theater but also an important emblem of French culture and art.
The exhibition "Between the Stages" showcases a series of works by the French artist Stéphane Lavoué, photographed during his residency at the Comédie-Française. His series revolves around backstage, actors' dressing rooms, and portraits. The Comédie-Française has a unique company system known as "the Troupe," whose members, referred to as "Sociétaires", hold lifetime positions and manage the theater. Thus, the troupe is deeply intertwined with the building and the cultural and historical context behind it.
The exhibition's first half features the "Rooms" series, depicting the theater's dressing rooms, which are shared under a unique key system. Official Sociétaires can choose and decorate one of these rooms, acquiring all usage rights except for overnight stays. Stéphane Lavoué's lens reveals a special space between private and public, rehearsal and relaxation. Stage props, wigs, Molière's statuettes, exquisite murals, gaming consoles, and daybeds coexist, offering insights into the actors' lives and work, creating a complex amalgam with the building and its occupants.
Passing through two photos celebrating the 400th anniversary of Molière's birth, the exhibition's latter part presents candid portraits of actors taken last year, with bright backgrounds to mark the emergence from the pandemic's shadow. These unadorned actors, free from costumes and makeup, serve the functional purpose of aiding in casting and other troupe activities, capturing them in their most natural state, without theatrical character or makeup, abstracting the essence of dramatic performance. These photos allow us to boldly imagine the roles these comedians play and their real-life personas, bridging the gap between theatrical performance and reality.
Stéphane Lavoué's work presents a fascinating glimpse into the Comédie-Française for audiences in China, sparking endless imagination about the captivating stories that unfold behind the curtain.