Avignon (Vaucluse), special envoy.
"Today, the universal story is white or rather white-skinned, all other stories are secondary or peripheral stories. In Disintegration, Kheireddine Lardjam explores the uneasiness of the children of immigration, who are constantly being forced to integrate, but repressed from the point of view of egalitarian citizenship, even in the fourth generation.
He accidentally discovers the text of Ahmed Djouder, written in 2004 as a premonitory cry of the revolts of 2005, published by Stock editions in 2006, which has lost none of its effect of breath. Ahmed Djouder addresses the issue of Algerian immigration in France from a poetic and political angle, criticizing the two cultural legacies from which he came. He speaks in the first person, but calls a whole series of faces to various experiences, draws unique portraits of children born in France torn between contradictory injunctions.
"In me, there is the colonized and the colonizer"
On the set, there will be three: Linda Chaïb, Azeddine Benamara and Cédric Veschambre, to embody this dual membership that can go as far as the paradox and that Kheireddine summarizes for himself: "In me, there is the colonized and the colonizer . The actors, who are great, are familiar with an inventive and demanding stage work that the director has been experimenting with since several creations (the Borgnes, End / Igné or Page en construction) that speak about Algeria and France. today and the war between France and Algeria whose past does not pass.
The first part leaves the viewer doubtful. The bursts of actors who look from the inside societal and family contradictions from which they are seduced. They take on the costumes and features of their characters, which they make appear and disappear as the story unfolds. They slip into the body of one or others with his assignments and taboos that they dissect and jostle at will. The body is the place of submission and malaise, inhabited by a repressed violence, disturbing desires that can also bloom between men in the hammam. This acid look on the other, the stranger, even worn from the inside, disturbs.
Until, in the second part, the device begins to twist. The characters who have resumed the scene, boys and girls, look like rioters. Their anger rises and comes to enlighten the first part, to give it to read in mirror:
"You understand that, since you did not love them, our parents bent on their traditions (…) If you had loved them better, they would have listened more attentively to your magazines, to your radio broadcasts, to Françoise Dolto, they would have written better, they would have read better, they would have better understood that in life everything is vast, complex, multimodal; they would have come out, a little, of an ethnocentric vision. That would have been enough to reduce the damage. "
What did not happen caused irreversible damage. A radical break between two worlds, "them" and "us", artificially constructed and instrumentalized on both sides. That Kheireddine Lardjam had the opportunity to observe, two years ago, when he was in intervention in Saint-Chamand, on the outskirts of Avignon, where he discovered a district which reminded him of the Algeria of 1990s. And which parallels the xenophobic and racist expression of identity that is increasingly suffocating.
Disintegration deconstructs with force images and clichés on both sides and jostles and disturb the certainties. The scenography of Estelle Gautier is without wrong note. She has beautifully integrated the world of Hassan Hajjaj (who also signs the poster of the show). Nicknamed the Andy Warhol of Marrakech, he reinvents in an ultramodern style traditional Oriental and folk motifs. The result is striking and joyful. He comes to serve the room and his punch effect.