Autour de « Dans la République du Bonheur »



A l’occasion de la création à Lyon « Dans la République du Bonheur » de Martin Crimp, Christine Kiehl a eu l’occasion de rencontrer Leslie Kaplan, la dramaturge. Elle a ensuite participé à un workshop avec les metteurs en scène (« belle expérience ! » d’après Christine) où elle a pu enregistrer 30 minutes de lecture d’extrait de la pièce de Crimp. Puis, deux comédiennes et les deux metteurs en scène ont accepté de répondre à ses questions.


Christine Kiehl nous propose de découvrir ces trois enregistrements :

  1. Interview Leslie Kaplan / La République du bonheur (Martin Crimp), 10/6/14.
  2. Workshop Crimp, 14/6/14 :

3.Interview Julie Teuf, Katell Daunis, Marcial Di Fonzo Bo, Élise Vigier, 14/6/14.


Teaser de la pièce disponible ici :

Workshops avec Hannah Silva en Avignon


Hannah Silva is a poet, performer and playwright whose work often starts from a playful interrogation of language, voice and form. She has performed at the Tokyo Design Centre, Krikri International Festival of Polyphony in Belgium, Poetry Hearings in Berlin, ‘Urban Poetry’ festival in Latvia and at the finals of international choreography competition ‘No Ballet’ in Ludwigshafen. She also performs regularly throughout the UK at festivals including Latitude, the Edinburgh Fringe and Stanza (Scotland).

Her work for theatre includes ‘Opposition’ (UK tour 2011-12); ‘The Disappearance of Sadie Jones’ (national tour 2013); ‘Total Man’ (national tour 2013, with Electronic Voice Phenomena). Her latest play ‘Gagged’ was a runner up in the Leslie Scalapino Award for Innovative Women Playwrights. ‘Marathon Tales’ – co-written with Colin Teevan for BBC Radio 3 has been nominated for the Tinniswood Award. Her debut poetry collection ‘Forms of Protest’ is published by Penned in the Margins.

Her work has been supported by numerous organisations and funders including the Jerwood Charitable Foundation, the Arts Council England, the British Council, and the Peggy Ramsay Foundation.

Miguel Silva worked as a musician and theatre director in Mexico and Holland for ten years. He directed dancers and musicians in cross-disciplinary productions, and collaborated with composers, video artists and the architect Nikolaas Vande Keere (UR Architects). In 2004 he directed the production ‘Mensa Secunda’, which toured Holland and won first prize in the Jur Naessens Music Award. He also worked at Steim, the electronic music centre in Amsterdam, researching the use of new media to create realitime compositions using the body and the voice. His work was funded by the Fonds Voor de Poduimkunsten and the Practicum Generale Fonds.

Proposal: A poetry/sound poetry performance from ‘Forms of Protest’

The performance will consist of poems and sound pieces performed using a loop pedal to create soundscapes and musical layers of text.


Forms of Protest collects together for the first time the work of Hannah Silva, a poet and playwright known for her fearless and wholly original vocal performances.

These poems and experimental texts oscillate between sense and nonsense, meaning and music, always testing the limits of language to represent the lived world. Words are felt both as arbitrary signs and as urgent physiological acts. Ranging in form from sound poems to collaged spam email, from monologues to lists of insults, and embracing subjects as diverse as war, sexuality and giant squid, Silva’s poetry is like nothing else you’ve heard. Deconstructing the defunct languages of political and literary discourse, Forms of Protest claims a new space, a liminal zone between things as they sound – and things as they are.

Workshop Proposals:

  • Playing with Politics:

Ever watched a politician answer a question that left you none the wiser? Have you seen them give the same non-answer over and over to a completely different set of questions? Do you read newspapers and quietly wonder what on earth they are on about?

You’re not alone. Award-winning writer and performer Hannah Silva leads a workshop that introduces participants to ways of playing with rhetoric, and deconstructing the defunct languages of politics. Techniques result in performance that satirises the meaningless jargon of modern political rhetoric.

note: Participants can work in any language.

  • Playing with words:

Hannah Silva & Miguel Silva

This is a practical workshop for those excited by the musicality of spoken word performance. We will play with the textures of language, its rhythms and melodies, exploring our natural speech patterns alongside some more unusual ways of manipulating the voice in performance. The session is designed to help participants push at the boundaries of their current practice and to open up the many ways of working with words and the voice in performance.

note: Participants can work in any language.

  • Playing with plays:

Hannah Silva & Miguel Silva

An insight into the writing processes and work of Hannah Silva, playwright, poet and performer.

How are non-Aristotelian plays structured? What happens to character when you’re writing a dream world or a world with no characters in it at all? How can working with a dramaturg support a play’s development? What does producing your own work entail?

We will explore the ways in which form can reflect content, and different approaches to writing, performing and staging non-naturalistic scripts.



Hannah Silva & Miguel Silva

A performance/lecture that introduces students to some of the vocal techniques used by Hannah Silva in her writing practice, and the background and context of her work. As well as tracing back the roots of her poetic practice to sound poets and contemporary composers, Hannah and Miguel Silva will talk about their collaborative work across the disciplines of music, dance and theatre.


Workshop Feedback [student at Birmingham University]:

The workshop was a very new experience for me, coming from a background solely rooted in writing I got an insight into the world of acting and performance. Throughout the workshop we explored words and how to mould, craft and use them creatively. The activity I felt I gained the most from was when Hannah gave each of us four strips of paper, on which were a few lines of text. We then had to talk to each other using only these select words, various rules were then introduced; read them as if you’re a child and you can’t read, or pronounce only the vowels. We repeated the activity a few times, and as we did a story began to emerge – it felt as if we’d begun to write. Characters and meaning began to form through these very basic and abstract interactions.

Praise for Forms of Protest:

Forms of Protest really blew me away, breaking truly new ground in the process of a fundamentally performative poet making the radical adjustments to the page, with such grace and skill, but also in a way that leaves something unique as a trace in this book”. SJ Fowler

“It is refreshing to encounter a poet who addresses political themes head-on, who is lashing out instead of looking in. So convincing are these poems that, having finished Forms of Protest , it is unlikely you will be hoodwinked by doublespeak ever again.” Robin Boothroyd, The Literateur

“Reading through the collection one derives a sense of the Kafkaesque emptiness that is contemporary politics. This collection is in the great tradition of radical poetry and deserves to be widely read.” David Caddy, Tears in the Fence

“alternatively spiky and explosive … an impressive collection” Sarah Gonnet

Praise for Hannah Silva:

“Radical, political, courageous” What’s on Stage

‘Her physical performances, fast-talking delivery and innovative use of cut-up text make her one of the most ambitious and entertaining poets in the country’ The Times, Top Ten Literary Stars of 2008

Go to listen, marvel, participate. Go to be amazed. Just go’ ***** What’s on Stage – on ‘Opposition,’ Edinburgh Fringe 2011

‘A one woman embodiment of a political system in meltdown’ **** The Skinny on “Opposition”

‘She uses techniques like cut-up and collage, sound poetry and physical theatre to create something that’s unique but nods to older forms like shamanism, pre-religious ceremonies, Dadaism, and the kind of games that children play with language’. The Verb, BBC Radio 3

‘This brave and powerful play confirms Hannah Silva as a truly original voice’ **** Exeunt Magazine on ‘The Disappearance of Sadie Jones’

What a unique and sensitive imagination Silva possesses – and what a fine understanding of the tiny details that distinguish between the great gulfs in our lives.” Miriam Gillinson, Sketches on Theatre on ‘The Disappearance of Sadie Jones’

“The spartan text is conjured into shimmering gamelan lushness, interleaved layers pivoting about shared catchwords, superimposed, staggered, coalescing into riffs and refrains then diverging via counterpoint into cacophony.” Total Theatre

Cyrielle GARSON