Caligula / Le Malentendu by Albert Camus

By Albert Camus

"Caligula : C'est une vérité toute easy et toute claire, un peu bête, mais difficile à découvrir et lourde à porter.
Hélicon : Et qu'est-ce donc que cette vérité, Caïus ?
Caligula : Les hommes meurent et ils ne sont pas heureux.
Hélicon : Allons, Caïus, c'est une vérité dont on s'arrange très bien. Regarde autour de toi. Ce n'est pas cela qui les empêche de déjeuner.
Caligula : Alors, c'est que tout, autour de moi, est mensonge, et moi, je veux qu'on vive dans los angeles vérité !"

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Extra resources for Caligula / Le Malentendu

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He gives body expression to the internal emotions. He has worked with other theatre directors, including Jean-Paul Wenzel (Horvath’s Figaro läßt sich scheiden (Figaro’s Divorce), 1992), and Stuart Seide (Le grain et la balle by Samuel Beckett). In 1993, he co-directed Kalo with the author of the play, Maurice Durozier, and in 1994 he directed Marivaux’s La dispute (The Dispute) at the Festival of Blaye. Since 1996 he has been artistic director of the Theatre Festival ‘Les Chantiers de Blaye’ in France.

While studying Drama and English at Köln University, Beier founded a Shakespeare company and directed nine of Shakespeare’s plays in various locations inspired by the 25 Beligan, Radu Bene, Carmelo as producing various scripts for televisionand working with Ventura Pons on an adaptation of Caricies for film, Belbel teaches Dramatic Literature at Barcelona’s Institut del Teatre. Australian plays, most of them new, such as David WI LLIAM SON’S The Removalists. In 1990 he founded the Bell Shakespeare Company, which tours much of Australia with the aim of making Shakespeare more relevant to its Australian audiences; Bell Shakespeare editions, which include stage histories of the individual plays in Australia, are also being published.

After a period of training at the directors’ school in Warsaw, Eugenio Barba joined Jerzy Grotowski’s Laboratory Theatre as an observer in 1961. He then founded the Odin Teatret, with which he worked first in Oslo (1964) and then in Holsterbrö in Denmark. Throughout the years, Barba has come to represent not only one of the most innovative and challenging directors working in Europe, but also one of the most interesting theorists of contemporary theatre practice. With Odin, Barba has been exploring the boundaries of performance from an anthropological and physiological point of view, organizing workshops, conferences and ‘barters’, cross-cultural exchanges between practices from different traditions.

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