The Company
The Company
Performers
Dan Artus
Dinah Bellity
Natasha Cashman
Charles Vinoth Irudhayaraj
Maud Le Grevellec
Anaele Jan Kerguistel
Liliane Lipau
Nanii
Rajarajeswari Parisot
Vasanth Selvam
On video
Nadia Bourgeois
Charles Schera
Fleur Sulmont
Voices of
Louise Marcia Blévins
Béatrice Dedieu
David Geselson
Maya S. Krishnan
Jessica Savage-Hanford
Creative Team
Writer and Director Caroline Guiela Nguyen
Artistic Collaboration Paola Secret
FSL, English, Tamil Translation Nadia Bourgeois, Carl Holland and Rajarajeswari Parisot
Co-Lighting Designers Mathilde Chamoux and Jérémie Papin
Music Jean-Baptiste Cognet, Teddy Gauliat- Pitois and Antoine Richard
Sound Antoine Richard and Thibaut Farineau
Costume Designer and Couture Pieces Benjamin Moreau
Set Designer and Props Alice Duchange
Video Designer Jérémie Scheidler
Motion Designer Marina Masquelier
Wigs, Hair and Make-up Designer Émilie Vuez
Casting Lola Diane
Stage Management Stéphane Descombes and Xavier Lazarini
Dramaturgy Trainees Ryser and Tristan Schinz (TnS drama school students, dramaturgy section, Groupe 48)
Directing Trainee Iris Baldoureaux-Fredon
Sound Trainee Ella Bellone
Dramaturgy Assistant Hugo Soubise
Artistic Consultants Juliette Alexandre, Noémie de Lapparent
Recorded Music Quadar Adastra-quatuor à cordes
Production Team
Stage Manager Abdelkarim Rochdi
Sound Engineer Julien Feryn
Video Engineer Marina Masquelier
Lighting Engineers Thibault D’Aubert, Valérie Marti
Dresser Edwin Nussbaumer—Krencker
Subtitles Operator Panthéa – Manon Bertrand
Producers Isabelle Nougier and Dorine Blaise
Set, costumes and embroidery made in-house by the Théâtre National de Strasbourg workshops.
Event information
Event information
Running time: approximately 2 hours and 55 minutes with a short pause, no interval (readmittance is allowed)
Age guidance: 14+
Content warning: This show contains depictions of psychological and physical violence as well as suicide.
Performed in French, with scenes in French Sign Language, Tamil and English, with English surtitles.
Presented by the Barbican
Images by Jean Louis Fernandez
LACRIMA opened on 30 May 2024 at the Wiener Festwochen | Freie Republik Wien (Austria)
LACRIMA by Caroline Guiela Nguyen is published by Actes Sud
A production by Théâtre National de Strasbourg
Co-producers: Festival TransAmériques (Canada); La Comédie – Centre Dramatique National de Reims; Points Communs – Nouvelle Scène Nationale de Cergy-Pontoise; Théâtres de la Ville du Luxembourg; Centro Dramático Nacional de Madrid (Spain); Piccolo Teatro di Milano – Teatro d’Europa (Italy); Wiener Festwochen | Freie Republik Wien (Austria); Théâtre National de Bretagne, Centre Dramatique National; Festival d’Avignon; Les Hommes Approximatifs
With the participation of: L’Odéon – Théâtre de l’Europe, Théâtre Ouvert – Centre National des Dramaturgies Contemporaines (CNDC), Maison Jacques Copeau, Musée des Beaux-arts et de la Dentelle d'Alençon, l’Atelier-Conservatoire National du Point d'Alençon, l’Institut Français de New Delhi and l’Alliance Française de Mumbai
Discover more
Trailer - LACRIMA
Get a feel for this intense and glorious production through our trailer.
Crafting LACRIMA
Crafting LACRIMA
Caroline Guiela Nguyen and Benjamin Moreau were interviewed separately ahead of the production’s opening in 2024
Caroline, can you talk about your initial idea for the piece and how it evolved?
I was originally inspired by Lady Di's (the late Diana, Princess of Wales) wedding dress. I didn't have a specific memory of the dress – I was only just born at the time of the wedding – but my mother had told me about it. While researching, I learned how the secrecy surrounding the making of the dress was maintained – and my early instinct was to talk about that secrecy. At the same time, I discovered the work of Rieko Koga, an artist who sews phrases by hand onto fabrics. I was especially struck by one of her works, where she had sewed onto linen, ‘According to an old Japanese belief that I still share, stitches have magical powers. The clothes my mother made for me when I was a little girl always covered me with her great love. And the stitches on their backs protected me from anxiety and fear.’ Little by little, I arrived at what could almost be described as a fairy tale. What if all the characters were connected to the story of the making of a dress? What if anyone who comes into contact with this dress will, in some way, be affected by a curse?
Everything led me towards couture and, later, haute couture, which is a world wrapped in secrecy. From this, I was able to construct my story – or rather, my stories, because I always work to a choral structure, a plurality of stories that intertwine and resonate with each other.
The setting is always a primary anchor in your writing. How did the idea of setting the piece in a workshop come about?
I first envisioned a workshop located in the heart of Paris, so I met with pattern makers and others working in the haute couture world. It was thinking about featuring a veil that led me to Alençon lace. I spent time in Alençon meeting lace makers, as well as with Johanna Mauboussin, the curator and director of the Museum of Fine Arts and Lace. Once again, the question of secrecy came up, because Alençon lace had been subject to a form of industrial secrecy.
Then I travelled to India – where embroidery is created – and I visited workshops in Mumbai. This trip led to a dramatic change in my writing. Until then, I had wanted to focus on the stories of women. However, in Mumbai the embroidery is done by Muslim men – it's a craft passed down from father to son – and Indian embroiderers are the best in the world. They possess unparalleled expertise, and it's their work that we see in the most beautiful creations on haute couture runways. I told myself that I couldn’t turn my back on this story.
And then the idea arose for a setting that would transform to represent three workshops in turn: one in Paris, where the dress is made, in Alençon, for the lace, and in Mumbai, for the embroidery. I liked the idea of this multiple geography to talk about a contemporary world that is drawn through themes of violence and secrecy.
The secrecy you're talking about is covered by confidentiality agreements. It's hard to imagine that so many people work without ever knowing exactly what they're doing it for.
I went to Mumbai shortly before Fashion Week, and the workshops were packed. The Fashion Week shows take place in Milan, Paris or New York, and have a phenomenal impact on Mumbai. And yet the embroiderers live thousands of kilometres away from the shows.
LACRIMA is about the Indian knowledge that Europe and other wealthy countries benefit from. Of course, many Indians make a living from this work. So how can we maintain a fair, ethical relationship? Can we improve working conditions without being in a post-colonial relationship, without a European design office imposing measures without discussion or exchange with Indian companies and the people who work there?
I met Maximiliano Modesti, who founded the 2M workshops in Mumbai. He lives in India and campaigns for better working conditions and proper recognition of the embroidery profession. He has a very political and ethical relationship with the craft, and the artisan embroiderers he employs work for some of the biggest names in fashion. He told me that there was a time when the fact that embroidery was done by men in India was completely hidden.
The question of passing on knowledge is also central, particularly for the lacemaking profession. Did this topic arise from your meeting with the lacemakers of Alençon?
Absolutely. They talked to me about it a lot, because it's a profession that could disappear. A young woman had joined them to become a lacemaker: she had visited the Lace Museum and fell in love with this work, and became a lacemaker at 25. Suddenly, her arrival gave this art the possibility of living another twenty or thirty years. The other lacemakers are older and have vision problems or joint pain – they can't continue working until they're 75. It's a profession that was destined to disappear in ten years, but with Amandine taking up the torch, it will be able to continue and perhaps be passed on later.
Alongside professional secrecy, you've developed the framework of family secrets, or those related to the private sphere…
I won't reveal Thérèse's character's journey here, but there’s a recurring question: the way in which women were guardians of the professional temple of secrecy and/or silence, while they themselves were either victims or witnesses of violence within the family. Secrecy and silence were not only embedded within them but were also passed on as a legacy.
You choose to create your productions in sessions: periods of rehearsal interspersed with periods of downtime. Why is this method of working important to you?
I've been working like this since the production of SAIGON in 2017. In my shows, there are always several languages, and I want to be able to capture the particularities of each performer: whether it's different ways of speaking in French, or the English spoken by a non native tongue, or London English, or Tamil. I want to be able to compare my writing to the actors' speech patterns. It's important and it takes time.
I start each session with written, fictional sequences, which I try out on stage and then rework. This allows me to spend time meeting the actors. Sometimes I realise something was purely an idea, and it ‘doesn't work.’ I then have to abandon it. This is how fictional ideas emerge, as others disappear. I need time between sessions to reflect and start writing again.
There's another, very concrete reality. In LACRIMA, as in my other shows, the cast is a mix of professional actors and others who are not. We can't follow a ‘classic’ rehearsal model, meeting two months before the premiere and rehearsing continuously to bring the show to life. For people who have never performed before, there's a necessary acclimatisation. Even if it's just to leave home and find themselves in a theatre all day long. There's an organic rhythm to adopt, and the stop-starts allow for that. The work also needs to mature between sessions. Moreover, for these people, as for me, really getting to know each other is important and takes time. The actresses and actors are between 18 and 82 years old; people of all ages, from all walks of life. How can we really meet? You can't pull on a plant to make it grow faster. As a writer, bringing people into my writing is a journey, and for those doing theatre for the first time, this needs to build over time.
Is LACRIMA the first time your productions have featured multi-roling?
Yes, I'd never done it before. I'm so obsessed with believing in characters: the idea that an actor could play two roles was impossible for me. At the same time, I was aware that it limited me in terms of fiction: I couldn't bring a character in for just one scene. I wanted to challenge this aspect of my work, and I needed this freedom for my writing. Even the non-professional actors play multiple roles. This changes the way we look at things: before, the audience might have thought that the person embodied on stage what they are in real life. But that's never been the case: each person plays a fictional character with a name, a costume and a story that isn't their own at all. It's truly a work of interpretation. Playing multiple roles affirms this connection to fiction.
What's also changed is the stage design: it's less realistic than previous productions. There are several locations in one, and the wings, the side of the stage, are partially visible. There's a deliberate theatricality to the space.
Can you talk about the role of video? Its presence also allows you to bring in other characters and, as you said, it's part of the stage design, which isn't a realistically recreated space.
From the very first discussions with the team, I brought up the convention of a split-screen (a screen divided into several parts, with different images projected on each part). It's a brilliant technique that allows you to show several situations simultaneously: what's happening elsewhere during this time? In LACRIMA, I want us to be able to move towards this form of narration: ‘and meanwhile, in Mumbai,’ ‘and meanwhile, in Alençon,’ or ‘and meanwhile, in Paris’. This allows us to bring to life the ‘mission impossible’ aspect of making the dress.
Benjamin, as a costume designer, what does a show set in the world of haute couture mean to you?
The story takes place over an eight-month period, from October to June, which is also the time it takes to make the dress, an exceptional and prestigious commission for the fictional House of Beliana. I focused on the life of this House during these eight months. Several periods of activity overlap. If we adhere to the real activity of a Parisian haute couture workshop, which is dominated by the rhythm of the collections, there are two key moments: the spring/summer collection presented during Fashion Week in January or February, then the autumn/winter collection presented during Fashion Week in June. In LACRIMA, the making of the wedding dress – even though it is an exceptional and central project – is not the only activity nor the only narrative thread.
As a costume designer, my work usually focuses primarily on the bodies of the performers and their characters. Who are the characters, what are their backgrounds, where do they come from, and what are they going through? In LACRIMA, the dramaturgy of the costume takes on another dimension. It no longer concerns solely the performer's body but it also reflects the lifespan of the story. How do we depict life in the haute couture workshop during these eight months? It's about finding the elements of the history of the place, what we put in ellipses, what we need to build tension, what is theatrical or not... It's visual writing which goes beyond the actor's body.
This is the first time in Caroline’s work that performers have played multiple characters. Can you talk about the challenges faced by very rapid costume changes?
Caroline previously held this notion very dear: one face, one actor. And the character was built over time, through rehearsals: the emotions experienced by that person, costume tests on their body, costume changes, and the construction of a trajectory. As soon as the actor entered the stage, they were associated with a character. The audience had a unique connection with performer and character.
In LACRIMA, Caroline doesn't lose the relationship she has with her performers: she maintains this strong connection to each character's story. Each story, each journey, is very precise, whether a character is present for many scenes or not. This is a sensitive and powerful aspect of her work.
The action takes place mainly in the Parisian studio. All the people who work there wear white coats. What stands out, then, are the head and the feet, or the lower body. These two extremities are decisive in distinguishing the characters. We worked with the make-up artist Émilie Vuez and we asked, What is the face of a character? How does he do his hair? Does he wear glasses and if so, what kind? When a character returns to the story, the viewer must be able to grasp who it is within two seconds.
There is a particularity to this style of writing that is partly constructed over the course of rehearsals. The narratives become more refined, and there may be structural upheavals or editing changes which might mean the transition times from one costume to another can be modified. This is a very critical factor: how much time the performers have to get dressed. Since the changes are quick, we don't create complete costumes: we have to convey strong signals for each character, with transformations sometimes possible in thirty seconds. It's this mechanism that ultimately rules.
Can you talk about working with the Costume Workshop team at Théâtre National de Strasbourg (TnS) to make the original costumes?
We went through the challenge of how to depict haute couture pieces – something I asked myself before starting to work with them. We don't have their specific expertise, the rare materials, or the large teams. There was also a tension between theatre and camera to manage: costume has to be believable not only from afar, but sometimes also very close up.
Before rehearsals began, I went to the Saint-Pierre market in Paris to buy embroidered tulle and shiny fabrics. There are all kinds of fabrics in the different shops, with all kinds of colours and patterns. I bought several, but I had serious doubts as they felt far from the world of haute couture. But when I brought these elements on stage, people on the team let out an admiring ‘oh!’ So I told myself to trust in their belief: what matters is not the actual finesse or richness of the fabric, but the impression it produces.
I worked with the workshop team on this research: how to create the wow factor, with what type of materials, in what types of volumes. We entered fully into the idea of theatre.
The TnS workshop team are of immense expertise, which isn't that of haute couture, but rather it involves – in addition to sewing and clothing – everything related to the craft of fiction. LACRIMA is a project that showcases this expertise. It's not just about working on the actor's body, but also on the artist's own craft: that of clothing, of magnificence. And there's also a lot of work on the props. It was a rich undertaking for the workshop, using materials and colours that we're not used to in theatre.
These interviews were conducted by Fanny Mentré, literary and artistic contributor to TnS.
These are edited transcripts, translated from interviews conducted in French in 2024 a few weeks before the show's premiere.
Biography
Caroline Guiela Nguyen
Writer, Director and Filmmaker
Caroline Guiela Nguyen is an author, director, and producer. Initially a sociology student, she joined the Strasbourg National School of Theatre Arts and, upon graduating in 2009, founded the company Les Hommes Approximatifs.
Les Hommes Approximatifs devote time to searching for professional and non-professional actors – people who aren’t often seen on the stage – and work together to create great stories.
Convinced of the power of fiction while being conscious of reflecting the world as it presents itself, Caroline Guiela Nguyen always writes from a position of being immersed in places that capture the issues of our time, and in contact with those she calls the ‘experts of our realities.’
Alongside members of the company Alice Duchange (set designer), Benjamin Moreau (costume designer), Jérémie Papin (lighting designer), Antoine Richard (sound designer), Paola Secret (director) and Jérémie Scheidler (playwright, videographer), she approaches each project through aesthetics and formal research.
Productions created with the company since 2011 include: Se souvenir de Violetta at La Comédie de Valence (2011), Ses Mains (2012), Le Bal d’Emma (2013), Elle brûle (2013) and Le Chagrin (2015). Since 2013, her shows have been presented throughout France, notably at La Colline national theatre in Paris, the Théâtre Dijon Bourgogne, La Comédie de Saint-Etienne – National Drama Centre, the National Theatre of Nice, and the National Theatre of Bordeaux in Aquitaine (TnBA).
2015 marked the beginning of her involvement with the Maison Centrale d'Arles. She collaborated with Joël Pommerat and Jean Ruimi to create, among other works, Désordre d'un futur passé and Marius with inmate actors. In 2020, she directed her first film, Les Engloutis, which was shot inside the walls of the Centrale and was co-produced by Les films du Worso.
In 2016, she created a radio play, Le Chagrin (Julie et Vincent), with Alexandre Plank and Antoine Richard for France Culture as part of the Radiodrama programme. In the same year, she created Mon Grand Amour, an apartment show that toured Paris, Rennes and New York, among other places.
In 2017, she created SAIGON, which was presented at the Ambivalence(s) festival at La Comédie de Valence and at the 71st edition of the Avignon Festival. SAIGON has been performed in around fifteen countries, including France, Sweden, China, Germany, Australia and Vietnam.
During the 75th edition of the Avignon Festival in 2021, she created FRATERNITÉ, which toured France and Europe.
She was commissioned by the Schaubühne in Berlin to create an original show with the actors of the permanent ensemble. KINDHEITSARCHIVE, a cross-fictional story about adoption in an International Child Bureau, was staged in late 2022.
Caroline Guiela Nguyen has worked in association with a number of theatres on her productions, including La Comédie de Valence – CDN de Drôme-Ardèche, La Colline – Théâtre National (Paris), Théâtre Olympia – CDN de Tours, Odéon – Théâtre de l'Europe (Paris), MC2: Grenoble, and Comédie – CDN de Reims. She has also been an associate with the Théâtre National de Bretagne in Rennes, the Schaubühne in Berlin and the Piccolo Teatro di Milano – Teatro d’Europa, and a partner of the Théâtre de Liège.
Since September 2023, Caroline Guiela Nguyen has been Director of the Théâtre National de Strasbourg and its School.
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