The first goal was to find the University of Kent in Paris and try to make connections and understand what assets might be available to me in my Phd work.
I had emailed the Kent Paris team and understood that they were not in Paris at the moment, but that the center was open if I wanted to investigate.
I found Reid Hall, which is in the Montparnasse area- a huge breeding ground for artists in the 1920's.
The staff were helpful and let me know that I could use the center as a study site, interview location, and use the wifi for any of my future purposes.
Following my hunt for Reid Hall, I was reminded of Canterbury as I realized I was on my own pilgrimage.
Théâtre du Soleil is a Paris theatre ensemble that was founded in 1964. It's founder, Ariane Mnouchkine, is one of the most respected people in our art form.
I had emailed (using online French translation and English) the ensemble to find out about tickets to a show, but the communication between us had moments of lost translation, then my contact, Sylvie, said I should just come to the theatre.
The space is a bit remote: at the end of the Metro line, a good mile or two, past the Chateau du Vincennes, through the Parc Floral, and housed at the Cartoucherie...a former munitions factory. There are five theatres housed in those buildings as well as a school and dance company.
As I walked into the Cartoucherie area I was reminded of the Magic Theatre in San Francisco as it is quite remote and is housed at an old army base. I was unsure that I was in the right place, until I noticed a group of people gathered outside one of the buildings. A telltale sign: a bin of scrap lumber was in my site. Then I saw people scurrying in and out of the three large factory bays, across the path and lawn to a few trailers. I walked right by an older woman, who I thought might have been Mnouchkine. Tension was building and I floundered around the area looking for an office or someone to talk with. I was an interloper.
In my search for the box office, I entered into the center factory bay where the main entrance seemed to be made of old former grand drapes: heavy, worn, dark blue velvet. I entered into the first room and it felt like an old west saloon. Round wooden tables with benches around them, a long bar, high ceilings and dozens of crates creating a separation wall marked Théâtre du Soleil. I knew I was in the right place.
I walked into the space and peered behind the crates and saw what must have been 40+ pup tents! Whatthehell? I knew this theatre company has a long history of innovation and community, but that was an intriguing image.
I was walking on eggshells as I explored...I still haven't found the box office or someone to talk with...so, I was searching, taking candid photos like an American spy. The next space was similar to the first, but had a cabaret style stage on one end and more round tables and benches. I came out of that bay and headed towards the noise of saw blades...ahhh, a comforting sound as I knew the scene shop was my next stop. Just before the scene shop, I saw a decent sized room built out of a corner of the factory bay with windows and large dining tables. It was set with plates and flatware...looked like it was ready for a dinner party...hmmm...
As I turned the corner of the scene shop my interloper status drooped as I saw three or four guys, one wearing a rigging T-shirt, who were working in the shop: "my people!"
A few odd seconds passed as we negotiated the language barrier then a fine looking man stepped forward to meet my acquaintance. I told him that I was a theatre guy from the states and handed him my card- more for language clarification than anything else. He was genuinely positive and helpful. A motion of his head drew in a second person, a young woman with a purple hiking pullover on....apparently she knew English well. They asked if I wanted a tour! "Absolutely!" I replied...now I get the actual tour instead of the covert operation I was on during my search for the box office.
It turns out that I was with Kaveh the set designer and Elsa the lighting designer! They showed me the space, told me how the space is used in different ways for different productions and showed me the space where the current production is running; a proscenium style set up with dressing rooms under the seating banks. The current show was developed and is performed by a troupe from Cambodia that Ariane guided.
As we were finished with the tour, I thanked them graciously for their time and began to leave at which time Elsa said, "You know, Ariane is here, if you'd like to meet her." Are you kidding? Absolutely!
Kaveh then mentioned that the night before a very good theatre director friend of Ariane's from Paris had died, so, Ariane was blue today. So, I planned on a quck handshake and a return to the city center. As we approached, Ariane was sitting at a round lunch table on the grass across from the dining area I had seen before. Yes the woman I passed on my entrance to the campus was she!
Kaveh introduced us and mentioned the reason for my journey (I had mentioned my Phd work to Elsa and Kaveh previously). We exchanged pleasantries, she asked a few questions about the MET, I thanked her for taking time out to meet with me as I began to speak departing words...then she insisted I stay for lunch!
The dining hall was set up for them, the Soliel workers and the Cambodian guests! Elsa told me earlier that they feed the audience before each performance, now she mentioned that they feed the staff at every gathering, every day of work! We entered into the dining hall, Kaveh showed me the procedure, and on the table was a massive bin of pot roast with potatoes and carrots, a large plate of apple/walnut salad, stewed tomatoes, and a large plate of a different style of potatoe and other veggies.
I fixed a plate then sat outside with Ariane, Kaveh, Elsa, and three others for lunch. During lunch we talked a bit about my reason for coming: my Phd work. She agreed that my plan seemed sound and that she thought what I was doing was very interesting and important. I mentioned my initial impressions on the "essential values of ensembles" and she agreed that trust, respect, and a clear goal are most important. She mentioned a proverb (Asian or Indian she could not recall), but she said "if you want to unite the people, you must give them a clear goal." She was paraphrasing as am I, but I will find that quote!
After lunch we chatted a bit, but she was pulled away from the table by a member of her company. As it was time for the ensemble to get back to work, I helped Elsa and Kevah bus the table. We exchanged contact information and I expressed my deep gratitude on their hospitality and extended an invitation to the States, if they ever wanted to visit. And, I reassured them that this is not the last time our paths will cross.
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