#gisele vienne

[burningportrait]

Adèle Haenel

📷 by @ fabian_schellhorn

[pensoakspaper]

Dame Chevalier Riposte - Tribute to Audre Lorde | Danser pour se donner de la force, pour reprendre l'espace, et  ne plus s'arrêter avant d'avoir tout changer

[arboretvm]

Une belle enfant blonde (2005) by Gisèle Vienne & Dennis Cooper © Christophe Raynaud de Lage / Festival d'Avignon

[stage-fragments]

Gisèle Vienne, L’Etang, décembre 2022.

[nightsidewrestling]

D.U.D.E Bios: Maeve Rhydderch

Vaughan's Wife Maeve Rhydderch (2020)

Yorath and Deryn's daughter-in-law, and Vaughan's wife, Maeve Rhydderch. An Irish-Catholic woman living in Wales and a strong though slender female wrestler and mother. She's stayed with Vaughan through his time in prison.

"For better or worse, forever and always."

Name

Full Legal Name: Maeve Deirdre Blathnaid Rhydderch (Née Pelletier)

First Name: Maeve

Meaning: Anglicized form of the Irish name 'Medb' meaning 'Intoxicating'.

Pronunciation: MAYV

Origin: Irish, Irish Mythology

Middle Name(s): Deirdre, Blathnaid

Meaning(s): Deirdre: From the Old Irish name 'Derdriu', meaning unknown, possibly derived from 'Der 'Daughter'. Blathnaid: Modern Irish form of 'Bláthnat', meaning 'Little Flower' from Irish 'Bláth' 'Flower' combined with a diminutive suffix.

Pronunciation(s): DYEGR-drya. BLA-ned

Origin(s): English, Irish, Irish Mythology. Irish, Irish Mythology

Surname: Rhydderch (Née Pelletier)

Meaning: From the given name 'Rhydderch', rom the Old Welsh name 'Riderch', derived from 'Ri' 'King' and 'Derch' 'King'. (Pelletier: Derived from Old French 'Pelletier' 'Fur trader'.)

Pronunciation: HRUDH-ehrkh (PEHL-TYEH)

Origin: Welsh (French)

Alias: Hunter Princess, Maeve Rhydderch

Reason: This is Maeve's ring name.

Nicknames: Mae

Titles: Mrs, Ma'am

Characteristics

Age: 42

Gender: Female. She/Her Pronouns

Race: Human

Nationality: Welsh. Irish-French Mix. Dual Citizenship UK-FRA

Ethnicity: White

Birth Date: February 13th 1978

Symbols: Bows, Arrows, Swords, Crowns

Sexuality: Bisexual

Religion: Irish-Catholic

Native Language: French

Spoken Languages: French, English, Irish, Scottish (Scots Gaelic), Welsh

Relationship Status: Married

Astrological Sign: Aquarius

Theme Song: 'Tell It To My Heart' - Taylor Dayne (1996-)

Voice Actor: Eva Green

Geographical Characteristics

Birthplace: Limoges, Haute-Vienne Prefecture, France

Current Location: Llanfaethlu, Anglesey, Wales

Hometown: Llanfaethlu, Anglesey, Wales

Appearance

Height: 5'4" / 162 cm

Weight: 127 lbs / 57 kg

Eye Colour: Brown

Hair Colour: Blonde

Hair Dye: None

Body Hair: N/A

Facial Hair: N/A

Tattoos: (As of Jan 2020) 5

Piercings: Ear Lobe (Both)

Scars: None

Health and Fitness

Allergies: None

Alcoholic, Smoker, Drug User: Social Drinker

Illnesses/Disorders: None Diagnosed

Medications: None

Any Specific Diet: None

Relationships

Allies: (As of Jan 2020) The Rhydderch Clan

Enemies: (As of Jan 2020) None

Friends: Viola Nye, Giselle Herbert, Ursula Rhydderch, Moira Rhydderch, Vanessa Rhydderch, Unity Rhydderch, Whitney Rhydderch, Oneida Rhydderch, Yvette Rhydderch, Ragnhild Rhydderch, Beatrix Rhydderch, Genista Rhydderch, Gertrude Rhydderch, Gethsemane Rhydderch, Ginger Rhydderch, Mulan Dreesens, Dalisay Driessen, Marilag Hanraets, Bedisa Pelletier, Lali Pelletier

Colleagues: The C.R.C Locker Rooms / Too Many To List

Rivals: None

Closest Confidant: Vaughan Rhydderch

Mentor: Malcolm Pelletier

Significant Other: Vaughan Rhydderch (41, Husband)

Previous Partners: None of Note

Parents: Malcolm Pelletier (72, Father), Dilys Pelletier (73, Mother, Née Mag Aonghuis)

Parents-In-Law: Yorath Rhydderch (71, Father-In-Law), Deryn Rhydderch (72, Mother-In-Law, Née Heffernan)

Siblings: Leonti Pelletier (39, Brother), Mulan Dreesens (36, Sister, Née Pelletier), Makar Pelletier (33, Brother), Dalisay Driessen (30, Sister, Née Pelletier), Matvei Pelletier (27, Brother), Marilag Hanraets (24, Sister, Née Pelletier), Saveli Pelletier (21, Brother), Bedisa Pelletier (18, Sister), Sviatoslav Pelletier (15, Brother), Lali Pelletier (12, Sister)

Siblings-In-Law: Amihan Pelletier (40, Leonti's Wife, Née Dahlmans), Maksimilian Dreesens (37, Mulan's Husband), Ligaya Pelletier (34, Makar's Wife, Née Dreessen), Porfiriy Driessen (31, Dalisay's Husband), Marikit Pelletier (28, Matvei's Wife, Née Goossens), Sevastian Hanraets (25, Marilag's Husband), Khatuna Pelletier (22, Saveli's Wie, Née Heijmans), Neifion Rhydderch (38, Vaughan's Brother), Beatrix Rhydderch (39, Neifion's Wife, Née Patenaude), Olwen McDermott (35, Vaughan's Sister, Née Rhydderch), Caden McDermott (36, Olwen's Husband), Gwen McCracken (32, Vaughan's Sister, Née Rhydderch), Caderyn McCracken (33, Gwen's Husband)

Nieces & Nephews: Talullah Rhydderch (18, Niece), Saffron Rhydderch (15, Niece), Raffferty Rhydderch (12, Nephew), Quasimodo Rhydderch (9, Nephew), Pallas Rhydderch (6, Niece), Olivia Rhydderch (3, Niece), Nash McDermott (15, Nephew), Mack McDermott (12, Nephew), Lark McDermott (9, Niece), Kaylyn McDermott (6, Niece), Jameson McDermott (3, Nephew), Ian McCracken (12, Nephew), Halcyon McCracken (9, Niece), Genesis McCracken (6, Niece), Farley McCracken (3, Nephew), Leonty Pelletier (19, Nephew), Bituin Pelletier (16, Niece), Makari Pelletier (13, Nephew), Divina Pelletier (10, Niece), Melor Pelletier (7, Nephew), Mayumi Pelletier (4, Niece), Saveliy Pelletier (1, Nephew), Baia Dreesens (16, Niece), Savely Dreesens (13, Nephew), Endzela Dreesens (10, Niece), Svyatoslav Dreesens (7, Nephew), Lela Dreesens (4, Niece), Terenti Dreesens (1, Nephew), Makvala Pelletier (13, Niece), Terentiy Pelletier (10, Nephew), Manana Pelletier (7, Niece), Timofei Pelletier (4, Nephew), Mzia Pelletier (1, Niece), Vadimir Driessen (10, Nephew), Nana Driessen (7, Niece), Varfolomei Driessen (4, Nephew), Natela Driessen (1, Niece), Vasili Pelletier (7, Nephew), Rusudan Pelletier (4, Niece), Vasily Pelletier (1, Nephew), Tsisana Hanraets (4, Niece), Vassily Hanraets (1, Nephew), Tsisia Pelletier (1, Niece)

Children: Abigail MacChruim (21, Daughter, Née Rhydderch), Zechariah Rhydderch (18, Son), York Rhydderch (15, Son), Xaviera Rhydderch (12, Daughter), Wendy Rhydderch (9, Daughter), Varg Rhydderch (6, Son), Ul Rhydderch (3, Son)

Children-In-Law: Mungo MacChruim (22, Abigail's Husbaand)

Grandkids: Elain MacChruim (1, Granddaughter)

Great Grandkids: None

Wrestling

Billed From: Haute-Vienne, France

Trainer: The C.R.C Locker Rooms / Too Many To List

Managers: Vaughan Rhydderch

Wrestlers Managed: Vaughan Rhydderch

Debut: 1996

Debut Match: Maeve VS Deryn Rhydderch. Maeve won via submission

Retired: N/A

Retirement Match: N/A

Wrestling Style: Technician

Stables: The Rhydderch Clan (1998-)

Teams: No Team Names

Regular Moves: Knife-Edged Chop, Back Suplex, Delayed Vertical Suplex, Atomic Drop, Inverted Atomic Drop, Bridging Belly To Belly Suplex, Dropkick, Top Rope Dropkick, Indian Deathlock, Sleeper Hold, Snapmare, Swinging Knee Lift

Finishers: Diving Knee Drop, Figure-Four Leglock, Fisherman's Suplex

Refers To Fans As: The Fans, The Family

Extras

Backstory: Maeve Rhydderch (Née Pelletier) of the C.R.C (Welsh Wrestling League / Cynghrair Reslo Cymru) owning Rhydderch family. Maeve married into the family, specifically marrying the 'Hunter' Vaughan, becoming the 'Hunter Princess'. She's Half-Irish, Half-French.

Trivia: Nothing of Note

[tmhdy]

Gisele vienne

[444names]

portuguese and french female forenames BUT excluding "a"

Belie Belienrie Belise Bellenne Berie Berile Bernés Bertippie Bete Bette Betteire Bilhe Bine Bluciel Blucine Bluisette Blur Brene Brie Briettene Bris Celie Chele Chelle Chrie Chrineule Chrise Chriterce Chèle Cili Cine Cinestile Clene Clermene Clette Clodione Clope Clorette Clorée Clothe Cloïs Clárce Cláriseve Cláudine Clénice Cléonie Cole Colene Colenne Colie Colionne Colène Concene Coniele Conine Conne Connevel Conoemy Corde Corenée Corgie Corgon Corine Corné Corée Cose Coseme Cosimele Crie Crinne Crisèle Crèce Cécie Cécine Célie Célomene Deirès Deiz Delle Dette Dielie Dome Donne Dordeilie Dore Dorgine Dorique Dorose Dorée Dovirei Dulces Dulisèle Déborene Déborre Déline Dérise Edioloë Elie Elielle Eline Elinette Elis Elle Elleise Eller Ellete Ellette Elpômene Elynette Elívine Emelle Emenéli Emillette Emylène Emíophili Ermí Ernélie Esce Esili Esine Esmélie Espe Essuse Estine Esáli Eugélie Euline Euse Eustée Evelie Evesce Evestil Eveve Evice Feber Febete Febre Felie Felle Fernélot Ferônie Fignès File Filenique Fine Floricile Florne Flot Flotine Floís Floïs Flávine Frée Fréli Fábine Fátille Fátine Gele Gene Genne Geonnette Getel Gette Getteore Ghille Ghine Gine Ginie Gise Giselle Gistine Gite Gitine Glore Glot Gloïs Glárce Gláudespe Gláudoré Gláviode Griette Gris Guelie Guelle Guine Heline Herce Hermi Hervie Hette Héline Hélique Hélisete Ififille Indrélis Inine Iregiscie Irettelle Irélote Iselle Isette Isolie Jenthe Jentinês Jené Jore Jose Josellete Joselídie Joseve Josárine Joëlleris Julce Jule Juli Juliene Julistine Juliz Justálie Jésse Jéssile Júlie Júliette Júlis Júnie Júnique Lence Lene Lenne Lete Lette Lildette Line Linette Lisèlette Lodo Lodorge Lombelle Lorde Lorie Loth Lotte Loïs Luce Lucilie Lucilvie Lucine Lucrice Lucrise Lucécie Lucéline Lucílis Lude Ludignèse Ludinette Luildelle Luresárie Luís Lémicole Léminne Léonne Lérine Lídie Líginée Lívirène Lúcibiete Lúciete Lúzie Lúziene Meine Meição Mellenne Mennice Mentine Merete Micilie Migie Migille Mignès Mile Miline Mille Mine Monny Morgine Márie Mélick Mélie Méline Méliol Mélène Míoncele Míope Mônie Nette Niconne Niennette Ninie Niniette Noeme Nonne Nonol Noressine Núrine Océlène Odore Ofine Ofélène Olenélote Oline Olène Ombrile Onine Ophine Ophnée Ouisette Philie Phirle Pine Prine Quelle Rebelénie Rebrielle Reis Renete Renie Renne Respe Rice Rinette Roche Rocéciene Rocéline Role Rolie Rolili Rolinth Rolène Rolíline Roméline Ronine Rosemírie Rosibette Rosick Rosárite Rosé Rote Rotte Rotterne Rudenne Rund Sefele Seline Sibettei Sice Sides Sidor Sidore Silde Sile Siliene Sille Simelie Simon Simé Sine Sineurine Sinnette Sole Solice Soline Sope Sophilie Soth Sotte Suellen Suette Sundes Sylvick Sylvânde Sylène Sérine Sílie Sílix Sônick Sôniette Terice Teriette Teris Ternée Thelie Thilete Thilie Thille Tine Trície Táli Tálie Veris Vice Vicile Viel Vielle Vienne Vine Viole Vire Virgine Virguelle Viré Vivie Vivio Viève Vièverie Vièvette Vérine Vérèce Ximertile Xine Xânge Yvonique Zite Zoëlle Águe Águse Ânde Ânice Ânie Ânine Ântippie Èverise Èverviève Élie Éline Élinette Élis Élise Émenne Émick Émilenone Émine Úrion Úrsusette Úrsuz

[empressofkalumina]

Protesting against a new security law, (particularly Article 24) which would criminalise the publication of images of on-duty police officers with the intent of harming their “physical or psychological integrity.” That would essentially mean that the police could prevent journalists – and social media users – from documenting abuses and allow police brutality to go undiscovered and unpunished. This in light of recent footage of what happened to music producer Michel Zecler, another black man who was beaten by three police officers.

[portraitdelajeunefilleenfeu]

teaser for Gisele Vienne's "L'étang" starring Adèle Haenel and Ruth Vega Fernandez

[burningportrait]

Adèle Haenel

« berlinerfestspiele: Day 6 of Theatertreffen brought us to @hansottotheater for Gisele Vienne's "Extra Life", a haunting and memorable evening.

berlinerfestspiele.de/theatertreffen » 

📷 by @ fabian_schellhorn

BerlinerFestspiele

[golffitz-blog]

L’Etang review

Mental crash test

Status: 08/13/2021 | Reading time: 3 minutes

Stefan Grund

From Stefan Grund

editor

Concentrated performers: Ruth Vega Fernandez (left) and Adèle Haenel

Source: Estelle Hanania

Successful theater experiment: Adèle Haenel and Ruth Vega Fernandez play “Der Teich” by Robert Walser, directed by Gisèle Vienne. Here, dolls come to life and people are lit up like mannequins.

The white room on the stage, open at the top and front, is not reminiscent of a laboratory, although there is a bed there. Two mannequins lie in it, as if they were resting from standing, four more are grouped around relaxed when the lights go on and loud techno music is played.

Now a very exciting, highly concentrated experiment begins in the theater laboratory. A man, perhaps a decorator, perhaps a stage worker, carries out one doll after another. Then two actresses enter the stage in hall K2 at the summer festival on Kampnagel in slow motion like animated puppets: Adèle Haenel and Ruth Vega Fernandez.

What both actresses in the experimental set-up by director Gisèle Vienne deliver as psychological crash test dummies in the following hour and a half is an overwhelming, exhilarating performance based on Robert Walser's text “Der Teich”. You play the dialect text of the German-Swiss poet in French, German and English subtitles are displayed.

Walser wrote the text for his sister, who only found it in the estate. He tells the story of the young Fritz, who fakes his death by drowning in the pond, because he feels unloved. Now he will watch the reactions of others to his death from a safe hiding place.

The children feel unloved and suffer from violence

Adèle Haenel speaks and plays next to Fritz, his siblings Paul and Klara alternating, which sounds like a composed self-talk. She often monologues as Fritz in his desperation, literally falling to the ground under the psychological burden. Ruth Vega Fernandez embodies both parents, and she also occasionally discusses with herself.

The violence that children suffer from when they breathe, stammer, explain, justify, is constantly palpable in this text. Director Vienne leaves nothing to chance in her experiment, while dying makes hidden levels of reality visible, audible and tangible, or reveals them as psychological crash test dummies through dying actresses.

Language malt, movement speaks

All design elements that dominate the game serve the purpose of empathically reaching the core of the invisible personal, private, through abstraction. In addition to the music by Stephen F. O’Malley and Francois J. Bonnet, the lighting design by Yves Godin creates atmospherically dense worlds. Vienne's choreography, which slows down movements and makes background noises audible when speaking, such as smacking or choking, reveals the soul.

Everything is broken down into characters in this complex arrangement in several levels, whereby the framework is retained. In it language becomes an act of speech, the act of study of movement. Even dying shadows shed new light on the people Vienne puts in the shop window. Walser's text also ends with a volte. Perhaps Fritz was only dreaming and the pond is actually nothing more than an ink stain.

[ladyonfire28]

(I managed to have access to the whole article. To be entirely honest 90% of this translation was made via a (good) translator website. I corrected a few things but I was too tired to do much more than that. It should be readable though.)

From mourning to resilience, Gisèle Vienne discusses her next creation with Adèle Haenel

Since the deconfinement, due to the lack of accessible studios in May, Gisèle Vienne has been rehearsing at home her next creation L'Etang by Robert Walser with Adèle Haenel and Ruth Vega Fernandez. The story of a long-term project.

The day when the premiere of Robert Walser's L'Etang, directed by Gisèle Vienne, will finally take place, it will be weighed down by a long gestation period whose waves, like those caused by a pebble thrown into the water, will be permanently reflected on the surface of the stage.

"It's a long story says Gisèle Vienne. I started rehearsals in 2016 with Kerstin Daley-Baradel. She played in The Ventriloquists Convention and Crowd and I was working on a series for Arte where she had the lead role, when she died in July 2019. Since 2013, Kerstin was omnipresent in my work and had become a very close collaborator. This play is conceived as a duet playing ten characters and we've been looking for the other actress for a long time."

It was during auditions in May 2018 that Gisèle Vienne met Adèle Haenel, who appeared to be Kerstin's ideal partner and the perfect actress for the role. The following month, in only two days of work, the whole play was already sketched out. Regular short working sessions followed until January 2019. A method of impregnation over time, which is usual for Gisèle Vienne, who makes it an essential part of the creative process.

"January 2019 was when we worked the most at the Théâtre Nanterre-Amandiers. We were able to put the whole play together, with already some of the music, sets, dolls, props, costumes and lighting. Everything was there."

While the play was to be performed in German, the project changes language to French

At the end of May, Kerstin gets ill and she understands that her days are counted. It’s in consultation with her that Gisèle Vienne will later, after her death, offer Ruth Vega Fernandez the revival of the role, that she takes as a legacy. While the play was to be performed in German, the project finally switches to French.

L'Etang features a young boy, Fritz, so beaten by his mother that he simulates a suicide to see if she will be upset by the announcement of his gesture.

"It's the first time I've worked on a play about the family," she says, "and through it I'm pointing out our cultural construction, its crazy and violent aspects, the system that impregnates us, and also to which the extent social structures are integrated into our intimacy right down to our flesh and blood."

Dissociation of voices

Initially scheduled at the TNB in Rennes and at the Festival d'Automne in Paris in 2019, the creation is postponed to 2020. Rehearsals should have resumed in April when the confinement started, putting a new stop to the project. In the meantime, and in the hope that she will be able to rehearse in July in Rennes, Gisèle Vienne and her actresses are working at her home on the most technical aspect of the show: the dissociation of voices.

"Ruth plays two mothers and the father and Adèle plays Fritz and all the other voices. All the other children or pre-adolescents are represented by fifteen human-sized dolls who are in waiting, listening, erasing or disillusioned positions. Each of the actresses is able to interpret several different voices, which can be associated or dissociated from the body that interprets them .

It's rather mental and almost musical, actually. It allows a multiplication of hypotheses about interpretations, through the questioning of our perceptions and the conventions of theater. Sub-texts are thus deployed, which allows the obvious to waver, and in particular the question of what the bodies and voices of Adele and Ruth represent."

A similar technique of ventriloquism that Jonathan Capdevielle had learned for Jerk, but not using ventriloquism as such, because here the lips move visibly. A technique of dissociation of voices that comes from the puppet arts, present in Gisèle Vienne's Splendid's by Jean Genet in 2000.

"Walser has a very singular subversive relationship to social norms and order."

Two new performers, but also a new author (the writer Dennis Cooper, author of most of his shows, again signs the dramaturgy here): "This is the only text Robert Walser has written in Swiss-German. Intended for his sister, this private text upset me. Walser's main characters are always subordinates. He has a very peculiar subversive relationship to social norms and order.

Just before the confinement, I was in Kyoto to work on a fourth rewrite of Showroomdummies, a play I had created in 2001 in collaboration with Etienne Bideau-Rey. I had reread a text that had seemed essential to me in 2001 for the creation of this theatrical and choreographic staging, Deleuze's analysis of Sacher-Masoch and Sade.

I find in Walser's writing a masochism that is linked to that of Sacher-Masoch in his extremely subversive relationship to laws and humour (…)"

[stage-fragments]

Gisèle Vienne, This is how you will disappear, janvier 2022.

[thinkingimages]

showroom dummies by Gisèle Vienne, 2001

[estellehanania]

“It’s Alive!” my solo show at Maison Européenne de la Photographie

 My show at la MEP just opened and will be on view until the end of october. Thanks for all the people who came to the opening last week.

“Dans le cadre de la programmation du Studio, consacré aux artistes émergents, la MEP présente It’s Alive!, une exposition de la photographe française Estelle Hanania, consacrée au travail de la metteuse en scène et chorégraphe Gisèle Vienne, notamment autour des marionnettes et de la ventriloquie.

Estelle Hanania s’est déjà intéressée au folklore, se focalisant sur les pratiques liées aux rites, costumes et masques vernaculaires, qu’elle utilise pour aborder la problématique plus large des mécanismes qui forgent l’identité. À travers sa pratique, elle s’intéresse à ce qui rend le corps humain unique, aux nombreuses transformations qu’il peut subir, par le costume ou le déguisement notamment. Ses séries de photographies sont le fruit de projets et de recherches menés sur de longues périodes, au cours desquelles se noue une relation étroite avec les gens ou les communautés qu’elle immortalise. Son goût pour les traditions ancestrales et les pratiques culturelles l’ont conduite en Indonésie, au Japon et dans les régions montagneuses d’Europe. Son approche artistique n’est en revanche ni documentaire ni anthropologique : elle ne cherche pas à prouver ni à illustrer une théorie. Ses sujets, au contraire, restent nimbés de mystère.

Le point de départ de cette exposition, It’s Alive! est le dernier livre éponyme d’Estelle Hanania, publié par Shelter Press, qui revient sur les dix années de collaboration entre la photographe et l’artiste et metteuse en scène Gisèle Vienne.

À partir des spectacles chorégraphiés par Gisèle Vienne, qui a souvent recours aux marionnettes ou à la ventriloquie, Estelle Hanania a créé des séries qui sont à mi-chemin entre réalité et fiction, entre le perceptible et l’invisible. Ses photos, loin d’un compte-rendu documentaire, mettent en lumière ce qui est moins tangible pour le spectateur. Ce ne sont pas de simples photos prises au cours des spectacles ou des répétitions : l’artiste ne fournit au spectateur aucune information claire et lisible. Prenant ses distances avec les représentations traditionnelles du théâtre, elle s’intéresse aux détails qui interviennent loin du plateau, hors cadre. Ici, ce sont les fragments, les indices qui permettent au spectateur de reconstituer une histoire. La figure humaine occupe une place essentielle dans le travail d’Estelle Hanania comme dans celui de Gisèle Vienne, elles jouent toutes deux sur la confusion entre animé et inanimé afin de laisser planer une forme d’incertitude dans l’esprit du spectateur.”