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Compagnie du Hasard – Mauerspringer Project2019-09-05T09:07:34+00:00

Compagnie du Hasard

/ Feings – France

Compagnie du Hasard


La Compagnie du Hasard was born in 1977 from a man – Nicolas Peskine* – to whom the desire and necessity to be an author, director and troupe leader imposed the idea of a place, a theatre, anchored in a city. This city was Blois. When in 2004, the Company moved to Feings, the adventure continued at the Théâtre du Grand Orme, in a both rural and touristic area.

Since 1977, the Company has developed an original repertoire, half of which consists of Nicolas Peskine’s creations, and the other half of classical texts or contemporary authors crossed on the road. In 1980, La Compagnie du Hasard was welcomed to Holstebro, Denmark, by Eugenio Barba, director of the Odin Teatret. He opened his network of contacts of “poor theatre”, of “poet actor”. During the Jélénia Gora Street Theatre Festivals (Poland) from 1985 to 1988, she met those who would become the travelling companions of the Mir (peace and world in Russian) Caravans of 1989 and 2010. They have brought to life villages of artists which exceed borders and languages to build an ideal world of curiosity and exchanges. These caravans have changed our vision of the world and the way we work.

Two more things mark the path of the Company and give meaning to its artistic line:
– The encounters, from 1981 until his death, with Roger Blin, a fantastic director, discoverer of the theatrical writing of the second half of the 20th century: Beckett, Genet, Adamov… His way of exercising his art is a model for the Company.
– A curiosity never completely satisfied for the African land where the Company had the chance to create two shows: Figaro à l’Africaine in Burkina Faso in 1989, then I Ko Tjokodi in Mali in 2009.

If creation and its diffusion constitute the heart of the Company’s work, there is one dimension that accompanies it in an almost consubstantial way: that of its diffusion in places where it is not naturally present: small towns and villages in rural areas, urban districts where part of the population don’t have access to Art and those who make it.

Since 1977, La Compagnie du Hasard has created dozens of theatre productions; it has sometimes staged great authors of the repertoire, but also many contemporary authors: Nicolas Peskine, of course, and many others. Since 2010, the Company has been very loyal to Bruno Cadillon, who has been its associate author for six years now. He wrote for her: the Denis Papin mystery, L’Adorée, la Cave, Le Passage des Anges, Le dernier songe de Shakespeare and Juin 40.
2019 will be the occasion for a new trans-European adventure: Mauerspringer and the creation of Off the wall by Bruno Cadillon and Gilbert Epron.

*Nicolas Peskine died in 2001. Danièle Marty has since taken over the management of La Compagnie du Hasard.

Mauerspringer project

/ The street theatre performance by Compagnie du Hasard


The Durands (Martial, the father, Martha, the mother and Vicky, their daughter) live in a house in the suburbs of an imaginary country.
A country that is at the same time modern and quite similar to ours, but not truly ours. An imaginary country where speech has disappeared, where communication only relies on gazes or actions, without it being much of an issue. The story begins on the day of the anniversary of Martial and Martha’s wedding, which also happens to be Vicky’s birthday, as she was born exactly one year after Martial and Martha’s wedding.
They throw a party, they are happy. There comes a man in uniform, that is thought to be a civil servant. He is there to tell them that a wall would be built in the back of their garden. The wall somewhat ruins the view, but after all it isn’t so bad and life goes on. After a while, the same man in uniform comes to tell them that he has to produce topographical maps of their house. He draws a line through their home, and goes away.
Life goes on, a bit disturbed by this line that no one really knows the meaning of. Then the man comes back, and starts building a metre-high wall. The man does not give any further explanations, but gives them some money as a compensation.
Then, he goes away. Life goes on, but increasingly disturbed by this half-wall that cuts the house in half. After a while, the man comes back, still in uniform and still without giving further explanations, and finishes building the wall that is now three-metre high.

The part added above the first wall is a see-through metal fence. Only one opening in the wall in the living room makes it possible to go from one side of the house to the other. The life of the family goes on, but becomes increasingly hard. After a while, again, the man come backs, but this time he comes with his stuff and settles down in the living room. He sets up a barrier at the only opening and starts regulating the family’s movements from one side of the house to the other. As time goes by, these rules become increasingly stringent and coercive until becoming unbearable for the family, that will finally oppose to it.

This thereafter leads to a cycle of revolts and repressions, that will end with the death of every protagonist (with the exception of Vicky who manages to escape), and the construction of a large wall in the avant-scène that separates the stage from the public and that hides the ruins that the house has become. In the same way as some totalitarian regimes have concealed their greatest crimes.

Mise en scène  | Bruno Cadillon
Avec | Bruno Cadillon Gilbert Epron , Emmanuel Faventines,  Maelle Koenig et  Danièle Marty
Scénographie | Michel Druez
Costumes | Antonin Boyot Gellibert

Compagnie du HasardDah TeatarHortzmuga Teatroa     Theaterlabor Bielefeld    Theatre de l'Unite


Regione Emilia-Romagna  Università di Bologna    Comune di Faenza       Caritas Faenza


Photographes Nomades Video ProgettiDivadlo Continuo TheatreTeatro NucleoAkademia Ruchu member

Media Partners

Ufficio Europe Direct Emilia-Romagna Goethe Zentrum Bologna    Alliance_francaise Bologna