From the Berthier workshops, where we find Lorraine de Sagazan one afternoon in April, the Paris court is just a stone’s throw away. In this district of the Porte de Clichy, the judicial city almost adjoins the second room of the Odéon-Théâtre de l’Europe, in which the director presents, until May 23, her LeviathanCreated at the Avignon Festival 2024. A spectacle that was largely invented there, in the audience rooms in immediate appearance of the 23e Correctional chamber of the Paris court. Theater and justice, an old story. As well as the relationships between art and real, including Lorraine de Sagazan has been rebatting the cards for a few shows.
Large, fine and blonde, the young woman always seems to be carrying on her a gravity, a worried form of sensitivity, despite the successes of recent years. At 38, she imposed herself as one of the most exciting directors of her generation, opening unprecedented exploration breaches in French theater. Contrary to what her surname, now famous thanks to her cousin (distant) Zaho de Sagazan, could suggest, she was not born with an artistic gold spoon in the mouth.
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