This year, we are lucky to have a very early theatrical return. Indeed, the season premiere “Enemy Cosmetics” will be performed at the French Institute in Phnom Penh on Thursday September 8 and Friday September 9.
It is an adaptation of the eponymous novel by Amélie Nothomb.
A man stuck in an airport due to the delay of his plane is approached by an infuriating character who imposes his conversation on him. No dodging is possible in the face of his determination. No law prohibits people from speaking…
Lepetitjournal.com went to meet the two actors…
How did the idea for this piece come about?
Raphael Ferry : It’s as often, a story of meeting. Meeting with a text first, because when I read this novel, a long time ago now, the idea of making a theatrical adaptation of it came to me right away. Then the meeting with Eric. The room is in fact a camera with only two characters, completely different. When I played with Eric on “Bubbles from Babel” (Common Sole) last year, and saw his way of apprehending the scene, of moving in it, I realized that he was the partner I was waiting for. It didn’t take long to convince him. The text is powerful.
What is your relationship to theatre, the stage and acting?
Eric Ellul: Our theatrical experiences and training are quite different: I come from a very classical theater at the base and have moved towards radical forms of contemporary work, including performance, in its ritual and spiritual dimension. Raphaël is a lover of tasty dialogues and plot twists: the energy of the pleasure of the game is his guide. Our respective temperaments lead us, one to existential comedy, the other to metaphysical tragedy: a fine wager, then, to play this Nothombian tragicomedy!
There is no director, where does this choice come from?
Eric Ellul: It is a reality, not a choice. The absence of a director seemed strange to me first of all, and sometimes very embarrassing, because his role, that of “safeguard” seems necessary to me: he is the one who prevents confinement in histrionics or automatisms, it opens up new paths for the actor, which it would have been difficult, if not impossible, for him to find on his own. It helps to make the text sound different.
In fact, we trusted in the chemistry of our duo: the staging of this piece is the fruit of mutual proposals and explorations.
It is also impregnated with our frictions, which did not fail to arise naturally: our slight conflicts of egos as well as our divergent methods of creation, far from being obstacles, have become an essential support for understanding the issues of room.
It was good that we took our heads together: Nothomb’s text deals precisely with this question of an impossible emancipation, when one locks oneself in a dual relationship, without the mediation of a third party. The other becomes an enemy, an obstacle to our freedom of action, thought and movement. In a duet, as in a couple, there is always the risk that things go around in circles, that the gaze of the other becomes unbearable to us, for the reason that it sends us back – in mirror form – to the gaze that we bears on oneself, or that one realizes that it is a trap in which everyone locks himself up “unbeknownst to his own free will”. No possible outcome sometimes: no recognition of a transcendent “Other” in the encounter with the other. So it’s war: any form of violence can be unleashed with impunity, you’ll see it in the play. When there was friction between us, the relationship with the characters was obvious: I reread the text to better understand what was going on. The “text” was our mediator in a way.
Was this part difficult to assemble?
Raphael Ferry : Yes and no…
On an emotional level, creating a piece is always something very strong. As an amateur I get on the boards only driven by passion. Each time it is my guts that I expose to the public. Getting on the boards is putting yourself in danger. So yes, it is sometimes difficult. Especially with such a well chiseled text that deals with intimate subjects.
On the material level, however, everything was absolutely easy. We were fortunate to benefit from the support of Valentin Rodriguez, the director of the French Institute, who opened his doors to us and made his team available to us: Marion Nollet, Borin Kor, Chivorn Then, Chealy Lors and Vannak Chhuon, who are remarkably kind and professional.
And Eléonore Sok, in addition to giving us valuable feedback, took charge of the vision and the research for the costumes.
What will be next?
Eric Ellul: Amélie Nothomb’s novels are frequently read and/or studied in college and high school. We would like to perform this piece in front of a school audience.
Raphael Ferry. We would like to play this piece everywhere. There are only two characters, the setting is very simple. We can present it easily almost anywhere, in Siem Reap, Battambang or even in individuals who want it. We are already in discussion to go play it in Kep. We are open to all proposals.
One last question: what is the meaning of the title “Cosmetics of the Enemy”?
Both : It’s explained in the play…
A quote from the play then?
It’s funny how people need to blame other people for ruining their lives. While they do it so well on their own, without anyone’s help.
Cosmetics of the enemy will be performed on Thursday September 8 and Friday September 9 at 7:30 p.m. at the French Institute in Phnom Penh. Possibility to buy tickets on site in advance. flat rate $10.
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See you soon.