Girls and Boys

A social ascent mirrors a descent into hell in their private lives. The virus of jealousy will drive him to commit the irreparable. He "cancels" this woman's choice, dispossessing her of everything, without exception. The man's violence destroys everything, including her deep sense of innocence. On stage, close to the audience, she begins a slow process of reconstructing her memories to withstand the horror, to reappropriate them.

In this surge of desire to live, she fights against her feelings of guilt; does she have the right to think of happy memories?

What drives us in this show is the refusal to give in to despair, a woman who doesn't give in but says everything even if it means exposing herself to the maximum. That's why we opted for a minimalist stage set-up. The chair, carpet and bedside table evoke an interior, an apartment, whether it's current or a memory. It's both a real and a mental space. The staging is subject to the need to "say", which is why it is in motion, adaptable and malleable, as in a memory. The use of a live camera offers another angle of observation and redefines the gaze while reconvoking memory.