Süresi

Türler

Orijinal Adı

Uyarılar

593 Vidas

Ediz Hun

Sezer Güvenirgil

Hayati Hamzaoglu

Aliye Rona

Enver Dönmez

Suphi Tekniker

Meltem Mete

Süheyl Egriboz

Hüseyin Zan

Hüseyin Güler

Ahmet'in kardeşi Nazlı, tecavüze uğradıktan sonra hayatını sonlandırır. Onun intikamını almak isteyen Ahmet, yaşadıklarını tecavüzcüye yaşatmak için yollara düşer fakat hiç beklenmedik bir şekilde âşık olur.


Kanlı Aşk

Jérôme Bel had wanted to do a show for a long time on the memory of a theatre, on the memory of the shows that would have been presented there. We know that of the shows, of the spectacular representation itself, nothing remains except in the memory of the spectators who attended them. Because it is precisely the very nature of live performance to die, to disappear. This is both its greatness and its weakness. It was while thinking of the Cour d'honneur of the Palais des Papes, undoubtedly one of the most symbolic places of theater in France, that he imagined a solution: a show placed on stage by spectators who themselves tell their memories of this place and the shows they saw there. The spectators invited to participate in this project are theater lovers, or not. They are between eleven and seventy years old; they are a student, teacher, graphic designer or nurse; they live in Vichy, Avignon, Paris or Clermont-Ferrand. Each in their own way, they testify to their experiences as spectators, good or bad. The stakes of this creation are therefore to try to quantify the reception of the shows by the spectators, to measure the influence of art on their lives. In the Court of Honor therefore. Because it was necessary to give the spectator the place he deserved: the place of honor.

Cour d'Honneur