A few words on the show supported by the European Creative Hub…

In France, I have often been confronted with a question : what is it like to be an Israeli today ? It makes me question myself about the way I see my own native country and its relationship with Palestine. My previous shows talked about the Israeli-Palestinian conflict from my point of view. With Tunnel Boring Machine, I wanted to walk in a Palestinian’s shoes, to enter his mind, body and skin. I wanted to understand how a Palestinian saw me, he who is pointed as « the enemy ». There was also the  question of the tunnels. I did a lot of research on Palestinian tunnels, which I knew all about thanks to my military service in Gaza. I read an article telling that the underground passages between the West Bank and Israel were not only used for terrorism and smuggled goods, but they were also used by Palestinian homosexuals. On Friday night, they hire smugglers to go to Tel Aviv’s parties and meet people. I found it very interesting to mix the Israeli-Palestinian conflict with the Homo-Palestinian conflict. How a man has to face the two sides of a war both preventing him to live freely his sexuality. As I was writing the show, I mixed various voices – a mother, a father, a Palestinian, an Israeli – all inside Khalil’s character. He embodies each one of them, summing up in a way the character’s schizophrenia as he is torn between different worlds full of paradoxes, and searching his own identity.

Many images conjured up as I was writing the show : like firecrackers evoking parties and wars at the same time, or letters written out of fire, an Israeli tradition. I like breaking rules and codes, evoking symbols, twisting and destroying them. I like breaking the story line thanks to comedy, music or singing, like in the opening scene of the play, which is an invitation to discover our day-to-day life. I love taking risks : being together in a theatre and then breaking the comfort felt by the audience by creating awkwardness. A theatre is a sharing place where the audience needs to be active, it is a place of experiment outside our everyday life.

interview by Patrick Beaumont


avec Julien Andujar, Gaël Sall, Stéphanie Aflalo, Bachir Tlili, Bertrand de Roffignac
lumière Melchior Delaunay 

scénographie Victor Roy
costumes Rachel Garcia 
musique Benjamin Cachot 
assistante à la mise Sophie Barbarit  
régie générale Marco Laporte
merci à mes complices, leur relecture en 1 2 8 « français-langue maternelle » m’aura été précieuse, Nathalie Kousnetzoff et Damien Simonneau 
remerciements à Youness Anzane 
production déléguée Latitudes Prod (Lille) 
coproduction (en cours) Maison de la Culture de Bourges – Scène Nationale / le phénix scène nationale Valenciennes pôle européen de création / TANDEM Scène nationale / Théâtre Garonne, Toulouse / La Villette – Paris
remerciements à Théâtre Nanterre-Amandiers, Théâtre de Vanves, hTh CDN Montpellier

avec le soutien de la DRAC Hauts-de-France, de la Région Hauts-de-France, du fonds de dotation Porosus, de l’ADAMI, de la SPEDIDAM. Avec la participation artistique du Jeune théâtre national 
ce texte a reçu les Encouragements de la Commission nationale d’Aide à la création de textes dramatiques – ARTCENA 
résidence d’écriture Théâtre de Vanves – Scène conventionnée pour la danse, Vanves Actoral – festival international des arts & des écritures contemporaines – Marseille / Montévidéo – Centre de créations contemporaines – Marseille / Théâtre de l’Odéon – Paris / La Chartreuse – Centre national des écritures du spectacle – Villeneuve-lès-Avignon / Le Tripostal – Ville de Lille

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