Récitatifs toxiques

Concert théâtral dansé


Choreograpers and directors: Roser Montlló Guberna et Brigitte Seth
Script: exctracts from Crimenes Ejemplares by Max Aub (translation by Danièle Guibbert)
Music: Heinrich Ignaz Franz von Biber
Set design: Claudine Brahem Lighting: Dominique Mabileau
Assistant director: Dominique Brunet Costumes: Thierry Guénin
Performers: Ensemble Abendmusik : artistic direction Joseph Rassam, Christophe Robert or Camille Antoinet (violin), Marie Rouquié (violin), Hélène Platone (viola), Nils De Dinechin (cello), Jean-luc Ho (harpsichord), Joseph Rassam (organ)
Actor-musician: Jean -Pierre Drouet (percussion)
Actors-dancers: Roser Montlló Guberna, Jean-Baptiste Veyret-Logerias, Brigitte Seth, Dominique Brunet
General manager: Eric Proust Assistant manager: Yves Empio
Set construction: Proscénium (Rennes)
Production and publicity: Françoise Empio  Assisted by Pauline Hartmann


"It is important that periodicals – as well as the radio, television and internet –spread the news about worksthat stand out and dazzle, such as the superb show - cruel yet comic - devised by Brigitte Seth and Roser Montlló Guberna and based on Max Aub’s Exemplary Crimes with music by Heinrich Ignaz Franz Biber. "
Octavi Marti, El Pais
« I killed him because he was stronger than me. »
Max Aub, Crimenes Ejemplares
Récitatifs toxiques (Toxic Monologues) is based on Crimenes Ejemplaresby Max Aub: multiple hommages to the same action, a crime.  Accounts, one line or one page long, of murders, a collection of faces, of situations, of destinies both sad and humorous, ordinary and unique.
Also playing a role is the work of composer Heinrich Ignaz Franz von Biber, and particularly the symbolic sonatas, the passacaglia for solo violin and Battalia.
Son of a German father and a German-born Parisian mother with a Slavic name, Max Aub (1903-1972) wrote his works (literature, theater, and cinema) in Spanish.  He left France for Spain with his parents in 1914 (his father keeping his German nationality), and returned to France in 1937 as cutural attaché at the Spanish Embassy.  He was arrested by the Vichy government in 1939, interned in France and in Algeria, and escaped to exile in Mexico.  He is strongly connected to Lorca, Malraux (cowriter of L'Espoir), Buñuel, Dali, Picasso (who painted Guernica at his suggestion)...  Crimenes Ejemplares (1956) won the grand prize in black humor at its release.
Heinrich Ignaz Franz von Biber (1644-1704) was a violinist, gambist, and composer.  The reputation and the works of this « fantastic virtuoso » (in the words of Jacob Stainer, the most famous instrument maker of those days) reveal a man of immense talent, and of spirit as agile as his fingers.  The unexpected is an essential characteristic of Biber's style.  He is known for having often used the process known as « scordatura », a technique consisting of modifying the violin's tonality to obtain singular tonal colors, producing spectacular effects.
« I killed him because I was sure that no one was watching. »
Max Aub,  Crimenes Ejemplares
What is a dance theater concert?  For Brigitte Seth and Roser Montlló Guberna, it is the product of the work of two voices, studded with savory transgressions.  In Récitatifs toxiques, the two artists, choreographers, actresses, and dancers, speaking French, Spanish, and Catalan, will purge from the small, ordinary crimes described by Max Aub, writer in exile, the motives for a dance, the prolongation of the dialogue, haunted by flesh and its ghosts.  Performed in rhythm with the « disjointed » baroque partitions of Biber, the production plays on different registers, from dark humor to allegory.  Musicians and other interpreters seize the stage to celebrate theater, but also to reflect upon the unchanging ferocity that lives within.
Irène Filiberti (2007)
« What matters is to make peace between men and to maintain it.  If, to acheive that, it is necessary to comme all the way here...(he makes a gesture that embraces the whole square), we will do it! »
Max Aub, Crimenes Ejemplares
After: Epilogos, confessions sans importance (Epilogues, unimportant confessions), speech in motion (produced at the municipal library of Strasbourg in November 2004 as part of a residency at Pôle Sud); Je te tue, tu me tues, le premier de nous qui rira... (I Kill You, You Kill Me, the first of us who will laugh...) dance theater (produced at the TPE in Bezons in March 2005 as part of a residency); Récitatifs toxiques (Toxic Monologues), dance theater concert, is the third and last production dedicated to the Biber/Aub project.  This production is the finalization of this trilogy.

Coproduction :


Théâtre de la Ville in Paris, Théâtre Pôle Sud in Strasbourg, Communauté de communes du Pays de Briey, Théâtre Paul Eluard in Bezons, Toujours Après Minuit in Paris, and the Ensemble Quam Dilecta  in Tours.  Toujours Après Minuit is subsidized by the Direction Régionale des Affaires Culturelles d’Ile- de- France and the Ministère de la Culture et de la Communication as part of their aid for choreographic companies.
With the help of the Spedidam and the Adami Company in residence at Micadanses in Paris.
Thanks to Jean-Paul Boury, at the Théâtre de la Cité Internationale in Paris.