Cabaret de l’exil – Irish Travellers. Program

CABARET DE L'EXIL - Yiddishland Portrayed by Alfons Alt   Total adventure in the heart of an ageless story; for almost forty years, Zingaro has continued his theatrical journey. To offer oneself to the public on horseback is to speak with them; invent an immemorial language ... An exchange beyond words, when the language of men is led to disappear and be reborn with the winds of history.   Exile almost always leads to the enrichment of one's own roots, it imposes a rebirth, a detachment from one's ancestral ties. Receiving this new sap requires courage and openness. This first "Cabaret of Exile" celebrates Yiddish culture and its klezmer music; a nomadic world in reference to the perpetual uprooting of the Jewish people. Yiddish, the language of exile par excellence, is today a dying language that may one day be reborn. As Bashevis Singer said with his devastating and devastating humor, when presenting his Nobel Prize for Literature: “I am often asked why I write in such a dead language. Why ? Because I believe in the resurrection. Not just in the resurrection of tongues, but in the resurrection of men. A dying tongue… perfect for those who are neither alive nor dead: ghosts! Nothing fits a ghost story better than a dying tongue. The more the language is dead, the more the ghosts are alive. "   Inspired by the bestiary of this "Cabaret of Exile", Alfons Alt reveals beyond nostalgia, which crosses time to imprint our souls, a real resurrection.   BARTABAS  

«C'est ce soir-là, après avoir copieusement arrosé l'arrivée du nouveau venu, que nous avons décidé dans l'euphorie et à l'unanimité de le baptiser Zingaro. Il endosserait le nom de notre théâtre équestre et musical, premier nommé il donnerait à la troupe sa descendance. Plus tard, tandis que la fête se répandait dans la nuit et que s'épanchaient les cœurs imbibés, je me suis surpris, comme souvent, à ne plus trouver ma place. J'éprouve dans ces moments le besoin de me retirer ; de m'évaporer sans au revoir ni salut. Je suis allé le rejoindre dans son box, je n'ai pas allumé, je me suis glissé dans son antre comme on se glisse sous les draps de l'amante endormie. Il était couché sur le flanc gauche, je me suis assis près de lui, il a tourné la tête vers moi sans se relever, un peu étonné de me voir, comme sorti d'un songe. Cette nuit-là, nous avons fait un pacte : j'allais contaminer son animalité et il allait me permettre d'exister parmi les hommes. Aux humains de mon espèce, nous allions nous révéler. Pour la vie.»   Publisher : GALLIMARD (February 6, 2020) Paperback : 320 pages

Portrait of a universal artist who reinvented the show and novel of a man who built, under a fictitious identity, an imaginary world, Bartabas, roman is also the narrative of a brotherly friendship. ! French version !

For the third opus of Cabaret de l'exil, Bartabas pays tribute to Persian women. Whether Afghan or Iranian, they too are artists in exile. Resilient and rebellious, they assert their identity and invoke ancestral memories, those of the ancient Scythian civilisation based on matriarchy. Among this nomadic people, the horse was a source of remarkable gender equality; travelling long distances on horseback and encouraging their mounts into battle was as much the prerogative of women as it was of men, as was the practice of the arts. Texts and photographs from the show Cabaret de l'Exil - Femmes persanes Photographs by Alfons Alt Preface by Bartabas in French