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Güven, a cabaret by Maxime Kurvers, Marie-José Malis and Marion Siéfert

Photo Willy Winner

Show built around a young man from Aubervilliers met during a theater workshop, Guven is an experience as only Marie-José Malis can imagine, who, in addition to the discovery of a “born actor” provides food for thought on the gap that separates public theater from popular circles, and opens up avenues for bridging it.

Among all its merits, Marie-José Malis has that of truly seeking to modify the practices of the theater world. Ambition shared by many other artists who often remain at the discourse stage. The work she is leading at La Commune is eloquent on this point. In a very working-class city, one of the poorest in the Parisian suburbs – Aubervilliers –, for example, she had staged a play by Alain Badiou with the inhabitants. Among them, Guven Tugla, young man of Turkish origin, Albertivillarian by birth, cameraman for the town hall. A boy whom nothing, he says, in his universe predisposes to the theater; who only went there, with a certain mistrust, as part of his municipal work. And who nevertheless responded to an ad posted on the walls of the city.

From the outset, Marie-José Malis was seduced by Güven’s ease on stage, his comic power, his pleasure in being on the set and many other qualities. Then comes containment. Güven sends the director of La Commune some videos and wonders how to bridge this gaping gap that separates him and his friends from his neighborhood from the theater. HASWith the associated artists of La Commune, the one Güven calls either “Marie Jojo”, “Marie Janus” or “Marie Job” then decides to stage itin a show that will bear his name, of which each associated artist will take charge of a part.

And here is Güven presented at the Commune, then in the Off d’Avignon, before returning to The Commune next October. Güven Tugla is alone, or almost, on stage. The show starts with Guven Antoine, designed with Maxime Kurvers. In a mode close to stand-up, the young man talks about himself, his career, his desire to be an actor, and ends up in the big Audi of his dreams on the set. In the second act, Hercules, Güven and the bourgeois Momo directed by Marie-José Malis, it crosses in particular a scene of the Bourgeois Gentleman with his friend Momo Bouri. Meeting and appropriation of a legitimate culture by a neighborhood guy in a jubilant comic number. Third part, my daron, prepared with Marion Siéfert. He recounts a love breakup and the relationship with his father, and the spectator discovers that other universes of values ​​than those on which there is consensus in the milieu can be brought to the stage. Three parts, therefore, of different natures, with no immediate relationship, which nevertheless build an image of the young man, highlight his qualities as an actor and work on the miscibility of his universe with that of French public theatre.

All is not successful there. The show is uneven, rather amusing and always surprising. And all along, the possibility of another theater emerges than the one in which, without realizing it, we lock ourselves up. Ease, mastery of rhythm, of body, inner jubilation to seize the stage and comic potential, as Marie-José Malis underlines, carried by a certain melancholy and a distance from reality, Güven does show real acting talent and carries for a first professional experience a show of more than an hour and a half on his shoulders, but the essential is perhaps not there. In any case, he is also involved in bringing an Audi on stage, Güven’s fantasy far removed from the theatrical world. In the account of his filial relations, which show his respect for a well-established patriarchal order. In free, authentic, different speech, which the three directors allowed to develop – above all they worked from the actor’s improvisations – in a discreet gesture of effacement, symbolized by Marie-José Malis, who at times assists Güven on set. Hierarchical reversals and opening to other horizons captured by a different theatrical language without being quite different, Güven opens the windows of the French public theater because there is thought very differently of this famous democratization of culture which behind the words many have, in fact, renounced.

Eric Demey – www.sceneweb.fr

News item n°16: Güven
Directed by Maxime Kurvers, Marie-José Malis, Marion Siéfert
With Momo Bouri, Guven Tugla
Lighting design Jessy Ducatillon
Sound creation Géraldine Dudouet
Dressing Agathe Laemmel

Guven Antoine
Conception and direction Maxime Kurvers
Improvised story Güven Tugla
Teni music
Acknowledgments Rodrigo Garcia

Hercules, Güven and Le Bourgeois Momo
Dramaturgy, direction Momo Bouri, Marie-José Malis, Güven Tugla
With Momo Bouri, Marie-José Malis, Güven Tugla
Valentine Sole Suits
Music PLOT Call of the heart

my daron
Text, design and direction Marion Siéfert
based on the story and improvisations by Güven Tugla
Assistant director Mathilde Chadeau
Light design David Pasquier
Valentine Sole Suits

Produced by the CDN Commune of Aubervilliers

Duration: 1h45

Avignon Festival Off 2022
The Manufacture in Avignon
from July 7 to 26, at 9:40 p.m. (cancelled on July 13 and 20)

The Commune, Aubervilliers
from October 5 to 15

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