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Mon Orient Express
                          M.O.E

A creative journey across Europe
on the Theme of Migrations 2019 / 2022

2 new writing commissions
2 pieces of new work
1 collaborative digital platform
2 interactive digital installations
10 artists
600 middle and senior school students
4 countries

Choose your own path!

Coproduction : Maison des Arts et Loisirs de Laon, Centre André Malraux
- Scène(s) de territoire d’Hazebrouck, to be confirmed...
With support from de la DRAC, de la Région Hauts-de-France in col-
laboration with Institut français, des Rectorats de Lille and d’Amiens,
and Instituts français in Athens and Bucharest
Requests for support have been made to Fondation de France,
d’Europe Créative and DICREAM
The company is actively searching for project development and writing
residencies, as well as cultural and educational partners for the 20/21
and 21/22 seasons.
Also participating in the project are : Le Grand Bleu de Lille Scène
conventionnée d’intérêt national art, enfance et jeunesse, Le Safran
d’Amiens Scène conventionnée pour la pluridisciplinarité et le dialogue
entre les cultures, MCL de Gauchy Scène conventionnée d’intérêt natio-
nal pour l’art, l’enfance, la jeunesse et la chanson, La Manekine de Pont-
Ste-Maxence, and Direction des affaires culturelles de Grenay

Mon Orient Express M.O.E                       originated from a new wri-
       ting commission made by Compagnie Esprit de la Forge to two authors
       in 2019 : one French, Luc Tartar, the other Romanian, Mihaela Michailov.

       The development process of these two texts, which echo each other in
       their investigations into the phenomenon of migration, will take place
       over the course of two seasons ; Bienvenue à bord ! by Mihalea Mihaïlov,
       a small-scale piece in 4 episodes, in 2020, L’Art du voyage by Luc Tartar,
       in Autumn 2021.

       In conjunction with these two new pieces of work, a digital residency will
       be put in place entitled L’EXPRESS LONDRES-ISTANBUL (L.E.L.I.) in order
       to set up links between the artists and adolescents.

       In 2019-2020, L.E.L.I. 1 will take the form of a digital writing residency. In-
       volving 10 classes (7 in the Hauts-de-France region, and 3 in Europe), the
       aim of this residency is to prompt pupils to ask questions about migration
       in general. These exchanges will feed into the work of Luc Tartar and will
       come to fruition in the writing of the piece L’Art du voyage.

       In 2020-2021, L.E.L.I 2 will take the form of a digital new work development
       residency. In collaboration with 10 classes (partnership to be confirmed),
       its aim is to raise questions about the development of L’Art du Voyage or
       Bienvenue à bord ! as pieces of new work. It will look into, among others,
       the issues of scenography, video, sound and lighting.

       The two pieces Bienvenue à Bord ! and L’Art du voyage will be added to
       by two digital installations, Voyage 2.0 and Train n°2520, built up from
       material gathered during these collaborative residencies.

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       M.O.E    is a voyage taking in a number of different stages.

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       Choose your own path !

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A FEW    words FROM THE AUTHOR LUC TARTAR
« For a long time now I’ve been looking at the question of how to begin writing
about the current phenomenon of migration. But how can we write about it?
The Orient Express… This deluxe train, which serves up our western imagina-
tions with the Middle-East and Asia, and the entire mythology of evasion and
travel, traverses Europe from west to east on a London-Istanbul axis, taking
in the Hauts-de-France region (Calais), and Paris en route. It goes against
the flow currently in existence in today’s world of populations fleeing war in
Syria and Irak, and misery. Of course, travellers aboard the Orient-Express
come across migrants who now have nothing. The extent, in symbolic terms,
of this encounter is immense, and reveals much about the ghettos in which
we reside. The Orient-Express becomes the window on an inaccessible world
which the destitute people of the world are condemned to watch pass them
by. This time-space relationship is rich in theatrical material, in terms of the
encounters to be conjured up between these characters that seem diametri-
cally opposed.
What I like about writing a piece in “virtual residency” is being able to com-
municate to adolescents the excitement of the writing process and the great
freedom of movement in staging it. Writing for the theatre is about asking
questions, non-stop, and attempting to find solutions. It’s about confronting
language, and pointing up the necessity of a dramaturgy.
Through writing and theatre, we are going to create and share a collective
form of brainstorming on a subject from today’s world. What better way for
adolescents to tap into their own imaginations, free will, and freedom to be,
create and live their lives ? »

A FEW    words FROM THE DIRECTOR AGNÈS RENAUD
« Overcome by the unimaginable tragedy undergone by migrants from Syria
and Irak, Luc, Mihaela and I have joined forces on the theme of what it means
is to be in exile. How can we shirk away from this burning issue in today’s
world? How can this tragedy be silenced ? How can we write, or create, wit-
hout being carried away by this dire need to find solutions and to maintain
our faith in the future, despite everything, even though Humanity itself seems
to be heading straight for a brick wall ? These questions have affected us all.
As I see it, the overall project of Mon Orient Express (M.O.E.) gets to grips with
the world of today, and its youth, overwhelmed by information (misinforma-
tion ?) and social networks, steeped in the media-dominated world, which
has the effect of both altering and distancing our view of the world.
This is why the collaborative project which makes up part of the M.O.E. makes
use of digital tools in order for them to be put at the disposal of young
people’s creativity, and human beings in general. At the same time, all this
will feed into the work of the Company. »
                                                                  M.O.E

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      2019 / 2020

      STAGE 1
      DIGITAL WRITING RESIDENCY : L.E.L.I. 1
      This digital writing residency centres on the use of a specially adapted
      digital platform, created by Open Digital Education. The author writes a
      piece of theatre in different stages, in direct link with the pupils. Via this
      platform, they exchange with each other on the subject of the text, its
      dramaturgy and the phenomenon of the various forms of migration etc.
      By the close of the school year, the piece will have been written and a
      reading of it will be carried out in front of pupils in one or several partner
      venues.
      Open Digital Education is a publisher of innovative services aimed at the
      educational community. It has developed digital culture lessons, such as
      the one led by Luc Tartar in the Lyon area : https://theatre.laclasse.com

      STAGE 2
      CREATION AND TOUR OF BIENVENUE A BORD !
      This commission made to Mihaela Michailov will consist of an itinerant
      series of 4 episodes, each lasting 20 minutes.
      This all terrain, bi-frontal format for two actors can be performed on-site
      or off-site, for example during an evening event or other similar occasion
      during the course of the season. Each new episode begins with a sum-
      mary of the preceding one.
      Writing guideline: 4 micro-fictions take place on-board the same Orient-
      Express carriage during a different era in time.

2020 / 2021

STAGE 3
DIGITAL CREATION RESIDENCY : L.E.L.I. 2
Partner-creators : Loïs Drouglazet (multi-media artist), Jean de
Almeida (sound design), Véronique Hemberger (lighting design),
Brice Coupey (actor and puppeteer).
The creation residency will take place via the digital platform. The eight
classes will enter into dialogue with the creators on the subject of the
texts by Luc Tartar or Mihaela Michailov, and on the possibilities for sta-
ging, space, lighting, theatre of objects and direction, among others ...
This creation process will blend together on-stage en-
counters with indications posted on the digital platform.
At the close of the school year, a reporting back day will bring together all
the various M.O.E. classes.

STAGE 4
DIGITAL INSTALLATIONS :
VOYAGE 2.0 AND TRAIN N°2520
These installations will be open to the public in conjunction with perfor-
mances of the L’Art du voyage and Bienvenue à bord ! shows
VOYAGE 2.0.
Partner creator : Loïs Drouglazet, multimedia artist.
A large map will be installed in the hall of the cultural venue. It will retrace
the Orient-Express route. Each stopover-town will be assigned with a QR
code enabling access to the London-Istanbul journey. Historical informa-
tion relating to the Orient-Express will then be displayed, in addition to
notes, video content, sounds and pieces of writing built up during L.E.L.I
1 and 2.

TRAIN n°2520 centres upon the use of an augmented reality book.
Partner creator : Sophie Marchand, artist-graphic designer
Using an augmented reality book as a starting point, the visitor uses his or
her telephone or tablet to surpass the threshold of fiction and find them-
selves in one of the Orient-Express carriages. There they can follow the
trail of the various characters conjured up during the digital residencies.

2021 / 2022

STAGE 5
CREATION AND TOUR OF L’ART DU VOYAGE

The writing constraints given to Luc are the following: the adolescent
must be a girl, a true adventurer! The on-stage configuration will take the
form of 3 actors one of which could take on the role of the Orient Express
barman (played the actor Brice Coupey). The theatre of objects will play a
part within this configuration.

Synopsis
Two adolescents, a girl and a boy. She lives in Calais. He comes from
elsewhere, and is trying to get to Great-Britain. Their first encounter is
in town, alongside the main roads. Their mutual curiosity leads to them
gradually getting to know each other. She bears witness to his vain at-
tempts, he is no longer so sure about leaving. Maybe they are in love.
That kind of thing is left unsaid, particularly between the two of them.
She wants to become a wine-waitress, and he does not drink wine. She
would like to find a job on-board the Orient-Express dining car. One night,
they climb aboard the train and travel as stowaways. London, Calais,
Paris, Strasburg, Vienna, Budapest, Bucharest and Istanbul… the different
stages of the journey will give rise to new encounters and discoveries…

crew

Agnès RENAUD - director
A child of exile herself (her parents spent time living in Algeria and bore
witness to two ruptures, the departure and the return), she brings to the
stage texts which resonate with her personally and generate strong emo-
tions. What these texts have in common is the way they prompt us to ask
questions about what constitutes us as an individual, and the place this
occupies within the family and the different societies in history. Her work
is orientated towards the text, and the way in which movement can bring
it to the stage. She has been assistant director to Ricardo Lopez Nunoz
and Michel Rosenmann. She directed Instants de femmes by B.Athéa, a
piece dealing with the loss and reconstruction of the self, and Au-delà
du voile by S.Benaïssa, which looks into the place of women in an Algeria
in perpetual deconstruction-reconstruction. She then staged two texts
by L.Tartar, Monsieur André Madame Annick and Terres Arables, fables on
the work environment. Following this, she directed a production of Lars
Norén’s Automne et Hiver (Autumn and Winter), depicting a family dinner
in which each of those present evokes painful memories of the past and
those encountered since, La Fausse Suivante by Marivaux, which ques-
tions the place of women and gender, and The Gardener by M.Kenny, an
inter-generational show dealing with encounters that have helped us to
grow up. She then returned to the writing of Luc Tartar in her 2017 staging
of Mme Placard à l’hôpital, which deals with our relationship to pain. In
2019, she directed Le petit boucher by S.Cotton, following the path to-
wards resilience of a young female rape victim.

Luc TARTAR - author - france
He is a novelist, playwright, and actor, and has been the recipient of
grants from the Ministère de la Culture, Centre National du Livre and Ile-
de-France region on several occasions. He is the author of two novels, Le
marteau d’Alfred and Sauvez Régine, in addition to a journal, entitled Les
bassines, and around twenty pieces of theatre, published by Ed. Lansman
and Ed. Théâtrales. He was associate author at the Théâtre d’Arras from
1996 to 2006. Works he has written for the theatre include Les Arabes à Poi-
tiers, Lucie ou le fin mot de l’histoire (directed by V. Goethals), Terres arables
(residency at la Chartreuse, Villeneuve-lez-Avignon), Papa Alzheimer,
(writing residency from the Centre des Auteurs Dramatiques de Montréal
; staged by Laurent Hatat), Parti chercher, Mademoiselle J’affabule et les

Mon Orient Express
  chasseurs de rêves, and Monsieur André Madame Annick, among others.
  In 2010, Les Yeux d’Anna won the Prix de l’Inédithéâtre, prix lycéen.
  S’embrasent, first performed in Montreal, by Théâtre Bluff, played
  out for four years in Quebec and France. In 2011, Eric Jean
  staged En découdre at Théâtre de Quat’sous in Montreal and Ma-
  rie Normand staged Roulez jeunesse ! at Epinal (Scène Vosges).
  Luc’s plays have been translated into English, Spanish, German, Serbian,
  Polish and Persian.

  Mihaela MICHAILOV - author – Romania
  She is a member of numerous national and international juries. She pu-
  blishes theatre and dance chronicles for major newspapers in Romania.
  Following on from her studies in literature and dramaturgy, she wrote a
  thesis on the radical nature of the body in contemporary theatre. She was
  awarded the UNITER prize (the Romanian equivalent of the Molières) in
  2006 for best play with The Romanian Complex, staged at the Bucha-
  rest National Theatre. She has been invited to participate in dramaturgy
  residencies at the Lark Theatre in New York, the Royal Court Theatre in
  London, and at the Récollets in Paris. She has worked in collaboration
  with numerous Romanian directors (Alexandra Badea, David Schwatz and
  Ioana Paun). Mihaela works in underprivileged areas with individuals who
  have been expelled from their home environment. She is the co-founder
  of the Vârsta4 centre, a community arts centre dedicated to artistic pro-
  jects aimed at the elderly, and is the joint-editor of the art-based political
  review – GAP. Her texts deal with the Romanian revolution, inter-genera-
  tional conflict, events in recent history, and violence in schools. Her work
  has been translated into English, German, French, and Hungarian, and
  performed in Romania, France, Great Britain, Germany and the USA.

  Sophie MARCHAND - visual artist - graphic designer
  Her attachment to the medium of paper has remained constant for al-
  most thirty years. It is the vehicle for her emotions, and entices her in the
  direction of poetic writing. Travel breeds inspiration and, on theses paths
  to freedom, we are prompted to overturn our perspectives. It enriches our
  propensity for capturing the indescribable. In 2008, DoubleAandpartners
  exhibited its Encres & Gravures in Tokyo. The importance of this nation’s
  ancestral culture of pen and ink made this encounter with Japanese
  spectators a unique one. In 2015 she trained in book-binding, leading to

the publication of the art books Encresilience, Nuages, Un jardin sous la
pluie, Plein mer basse mer, among others. Nature is the source from which
her creative work draws its breath. Plural skies are composed by the cal-
ligraphy of the wind, and all the grasses, diverse as they are, are like an
evocation to the beauty of our differences. Our uniqueness

Loïs DROUGLAZET – multimedia artist
Loïs trained in Sound Production at ENSATT, and then completed a BTS
in Audiovisuals in Saint-Denis. During his training he worked with Christian
Schiaretti, Michel Raskine and Matthias Langhoff. Following this, he turned
his attentions towards the digital arts and put in place various real-time
digital mechanisms (stage machinery, video and sound) : Un petit à côté du
monde, l’Ange Carasuelo Compagnie ; L’Ombre, Cie L’Astrolabe ; and Por-
trait de genre, Cie Sans Titre Production. He also collaborated in interactive
theatre workshops with children and developed stage tools of an adap-
table and modular nature in line with the principle of exchange and sharing.
With a strong interest in sound, he continued to work on new productions
(Cie Le chœur des fous) and has toured with the band Les fils de Falco
since 2009. He became part of Compagnie Adrien M in 2010 during the
creation of the first version of the XYZT exhibition and was stage manager
during its tour. He is part of the creative team behind the XYZT exhibition,
Hakanai, Les paysages abstraits, and at Casemate-CCSTI de Grenoble..

He has also worked with Marion Bottollier, Brice Coupey, Michel Gueldry,
Jean de Almeida, Véronique Hemberger, Lou Delville, among others . . .

Compagnie L’Esprit de la Forge has been operating in the Hauts-
de-France region since 2015 and brings Agnès Renaud’s crea-
tive projects to fruition. In collaboration with a collective of ar-
tists, the company develops creative projects combining the
staging of texts by contemporary authors and outreach work.
The Company operates in cycles, based on overall themes dealing with
notions of identity, memory, transmission and representations of women.
She has been in residency at the Maison des Arts et Loisirs de Laon (02)
since 2015 and is associate artist at the Centre André Malraux - Scène(s)
de Territoire d’Hazebrouck (59) since September 2018. The company re-
ceives support from the Ministère de la Culture DRAC Hauts-de-France,
Région Hauts-de-France and Conseil départemental de l’Aisne.

                                                   # ° ¨^, .; / :
She is a member of Actes-Pro, Collectifs HF and Jeune Public Hauts-de-
France at Scènes d’enfance-ASSITEJ France and Themaa.

Mon Orient Express

                    M.O.E

ARTISTIC DIRECTOR
Agnès RENAUD
a.renaud@compagnie-espritdelaforge.com

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06 60 59 03 02

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PRODUCTION and DEVELOPMENT
Julie LAPALUS
j.lapalus@compagnie-espritdelaforge.com

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06 37 41 84 81

            M.O.E                                            M.O.E              M.O.E

COORDINATION
Hélène DETOUCHE
contact@compagnie-espritdelaforge.com
06 29 48 56 09

Compagnie L’Esprit de la Forge
Head office :
111 rue Faidherbe - 02700 Tergnier
Contact address :
12 rue Hannequin - 51100 Reims - 03 51 85 29 08

https://compagnie-espritdelaforge.com

SIRET 809 292 790 00015 – APE 9001Z Licences n° 2-1085317 et n°3-1085318