Mmeellooddyy Nneellssoonn

Conception and performance Fanny de Chaillé and Grégoire Monsaingeon
Lights Willy Cessa
Production and distribution Isabelle Ellul

Duration 50 minutes

Mmeellooddyy Nneellssoonn was created the 23rd and 24th June 2012 as part of the « Week-end International de la Cité ».

This project is an order of the Théâtre de la Cité Internationale, Paris: Mmeellooddyy Nneellssoonn belongs to a saga intitled “Album”: an artist takes over the album of a musicain coming from the repertory of current music.
Coproduction Association Display / Théâtre de la Cité internationale.
Association Display is supported by the Ministry of culture and the project by DRAC Île-de-France.

The Music tElLs a stOry. The voice Dramatises. The accident embodies.
The young ladY and the death. AnNabel LEe. Lolita. Alice in Wonderland. Spirit Of ecstasy.
The uNique appearance of a distant so close be it, since Gainsbourg.
Destruction in the conditionn to visibility.

Fanny de Chaillé. Grégoire Monsaingeon. She is at the center. He shows (off).

Extract from the article L’art dans l’écart of Jean-Louis Perrier
in the magazine Mouvement, November/December 2012 

She enters the stage with a determined step, barely more supported than it used to be, slides from the outside light to the one on the stage in an everyday outfit, a simple detour, please remain seated, I was just passing by, as I suppose you were too. Nothing seems to really hurry her, a simple appointment to attend. Each of her movements seems doubled, drawing a gesture in the air and letting it fade Mmeellooddyy Nneellssoonn. Remember this well and forget it a little, it’s what I want. For a moment, she arches her back, from the side, her arms stretched towards the back, and she becomes Gainsbourg’s “Venus of the radiator” (La Vénus du radiateur). She offers a winding path that goes in and out of Gainsbourg’s Histoire de Melody Nelson. She performs in an ordinary outfit, draws the play to present only what she wants to show and leaves any unnecessary decoration behind. She doesn’t interpret the songs. She has them in mind. She listens to what remains of the story, of the melodies, and passes on those which have left a mark on her. There is no fine gesture and no speech. Each movement anticipates the episode to come, catches it as it flies past, at the precise place where it loops. Allusive sketches rather than heavy lines.
Above all, no trace of effort. No careless either. She hates prowess, declamation. Fany de Chaillé rejects the monumental, to rather adopt the “mental menu”, her approach.
Fanny de Chaillé doesn’t do without playing “against the public” too, the same way she knows how to play “against” the author or herself, but at the same time always playing with them.