international theater meetings around Antigone The exceptional circumstances linked to the Covid-19 health crisis lead to rethinking the modalities of international exchanges between students from different European countries as well as to reinventing other forms of live theater. Choosing the character of Antigone, symbol of the struggle of youth against the established order, (the new circumstances dictated by the virus?) as the central figure of the project seemed interesting to us in so far as the old myth allows by its updating to rethink the force of the tragic. The frail young woman inflexible before the law of men, ready to sacrifice herself to accomplish what her heart dictates to her, remains a splendid symbol of resistance and hope. Antigone under the pen of Anne Carson will be reborn in the guise of young French, Czech or Slovak. it will be the same for the other characters in the play. Vincent Goethals, stage director, ( will follow the development of the staging in the three countries. These sequences will be filmed and edited by the students in Cinema and Audiovisual Masters. The unity of this show will be ensured by music, a universal language? It is Jacques Mercier, conductor, who will ensure its production. A. Process and Objectives 1. Preparatory work for the meetings: distribute the 6 paintings in the play, each school taking two stages. The objective of this distribution is to multiply the interpretations of the play in order to be able, then, to reconcile them in a dramaturgical dynamic which makes sense for all the pupils of the three schools. 2.Three "in situ" meetings, one meeting in each country: - The first would allow for an expressive and interpretive reading of the piece. The play would be divided into three parts for each school to dramatically and critically work on the text. - The second meeting is part of a process of staging and acting proposals. Possibilities of pooling the three stagings in the perspective of a unique work. -The third and last meeting ends the meetings with the presentation of the piece, made up of proposals from each school . A preparatory work of reflection, proposals and rehearsals is to be expected. 3.Double digital "in visu" meetings in order to offer the staging of each school and make the dramatic link between each scene. 4. The final recording will be broadcast in the various Erasmus program countries and will be presented at various French-speaking theater festivals. B. Participants: -3 Countries: France, Czech Republic Slovakia. -3 senior schools: lycée Louis de Cormontaigne in Metz; Lycée Pierre de Coubertin in Tabor; Ludovis Stur high school in Trencin. More than 3000 students involved. Participants in mobilities : 75 students from the theater clubs of the school. - Project leader: Lycée Cormontaigne Metz, Arnaud Brossard Headmaster; Pascale D'Ogna professor. - Theater, video and music fields. -Company: Stage theater. -Artists: Vincent Goethals, artistic director and Stage director: Jacques Mercier, conductor and musical advisor. The students in Cinema and Audiovisual Master of the University of Lorraine orientation: Screen arts (production and techniques, image, sound, editing). -External partners: The Metz conservatory and the BMK space on the island of Saulcy (university theater). -Support: Antigonick by Anne Carson. C. Methodology deployed for project management: -mission in place of a steering committee -collaborative work in person and remotely -Evaluation -diffusion -penetration D. Expected results and impacts: For the students : -development of quality and sustainable language skills in English and French. -cross-border openness to the Other, construction of a European citizenship and identity. -development of digital skills. -development of face-to-face and distance collaborative work between students. -development of Creativity For schools: -develop the European dimension of each school. -anchor the project in the school. -dissemination of the project with repercussions throughout the school. For teachers: -discovery of other education systems. -exchanges of professional practices. -multidisciplinary work with a European dimension. -innovation and dynamics. -recognition of skills.
As early as March 2020, a few days after the start of confinement, the Ministry of Culture took up the question of the impact of the Covid-19 crisis on the cultural sectors. A survey was conducted among 7,800 cultural actors to assess the extent of the consequences of confinement in the short and medium term on artists and cultural structures. In addition, according to various studies, nearly 20% of students appeared as not engaged in schooling while waiting for this confinement. 40% of these disengaged students were not identified by their teachers as students at risk of dropping out before confinement. The reasons for the disengagement put forward by teachers are first of all the lack of meaning in work (75% of teachers cite it), poor working conditions and the lack of digital equipment (cited by 56% of teachers). The challenges of the 2020-2021 and 2021-2022 school year were therefore significant: most young people had indeed been disconnected for six months from the school world and sometimes from social life; a challenge for teachers, who must work specifically with students who have dropped out while allowing others to continue to progress. To do this, it was not necessary to aim only for pedagogical continuity, but for a form of educational and relational continuity. He was able to see the fundamental role of the link with the staff of the establishment in the learning process, during confinement. Calling to keep the privilege, providing the material necessary for the connection, allowing some in difficulty to access a space to work, using online platforms, the episode has in any case up to date the very strong creativity of the teachers and the personnel who have taken up this issue. It is in this exceptional context that we wished: • ask ourselves questions about the symbolic aspects of the character of Antigone, a struggling character who defends civic and human values in Europe. • build together a network of shared European values of freedom, openness and integration. • take all necessary health measures to continue the history of European youth to • Mobilize and meet the challenges of a pandemic or any other health crisis to come. • continue to develop this teaching creativity with artists • bring two worlds together through Art • faced with the unexpected, invent concrete artistic responses • thinking, integrating and overcoming together: creating • stimulate a common cultural awareness • develop innovative digital practices that allow exchanges where the pandemic calls for total or partial containment. and so • re-motivate students • fight against school dropout • go further with those who have more facilities • help artists and artistic structures • broadcast in situ or in visu a final artistic production to bear witness to the courage of young people and artists in the face of these circumstances of crisis.
As early as March 2020, a few days after the start of confinement, the Ministry of Culture took up the question of the impact of the Covid-19 crisis on the cultural sectors. A survey was conducted among 7,800 cultural actors to assess the extent of the consequences of confinement in the short and medium term on artists and cultural structures. In addition, according to various studies, nearly 20% of students appeared as not engaged in schooling while waiting for this confinement. 40% of these disengaged students were not identified by their teachers as students at risk of dropping out before confinement. The reasons for the disengagement put forward by teachers are first of all the lack of meaning in work (75% of teachers cite it), poor working conditions and the lack of digital equipment (cited by 56% of teachers). The challenges of the 2020-2021 and 2021-2022 school year were therefore significant: most young people had indeed been disconnected for six months from the school world and sometimes from social life; a challenge for teachers, who must work specifically with students who have dropped out while allowing others to continue to progress. To do this, it was not necessary to aim only for pedagogical continuity, but for a form of educational and relational continuity. He was able to see the fundamental role of the link with the staff of the establishment in the learning process, during confinement. Calling to keep the privilege, providing the material necessary for the connection, allowing some in difficulty to access a space to work, using online platforms, the episode has in any case up to date the very strong creativity of the teachers and the personnel who have taken up this issue. It is in this exceptional context that we wished: • ask ourselves questions about the symbolic aspects of the character of Antigone, a struggling character who defends civic and human values in Europe. • build together a network of shared European values of freedom, openness and integration. • take all necessary health measures to continue the history of European youth to • Mobilize and meet the challenges of a pandemic or any other health crisis to come. • continue to develop this teaching creativity with artists • bring two worlds together through Art • faced with the unexpected, invent concrete artistic responses • thinking, integrating and overcoming together: creating • stimulate a common cultural awareness • develop innovative digital practices that allow exchanges where the pandemic calls for total or partial containment. and so • re-motivate students • fight against school dropout • go further with those who have more facilities • help artists and artistic structures • broadcast in situ or in visu a final artistic production to bear witness to the courage of young people and artists in the face of these circumstances of crisis.