Petit Eyolf (2015)

Direction Julie Berès

Translation Alice Zeniter

Adaptation Julie Berès, Nicolas Richard, Alice Zeniter

Dramaturgy Olivia Barron

Cast in order of appearance

Anne-Lise Heimburger, Gérard Watkins, Julie Pilod, Valentine Alaqui, Béatrice Burley, Sharif Andoura


Set Julien Peissel assisted by Camille Riquier

Lighting design Kelig Le Bars assisted by Léo Grosperrin

Sound design Stéphanie Gibert assisted by Guillaume Vesin

Choreography Stéphanie Chêne

Costumes Aurore Thibout assisted by Florinda Donga

Arrangement and vocal direction Ariana Vafadari

Production and technical direction Léllia Chimento

Lighting direction Marie-Gabrielle Mathieu

Stage management Bruno Gallix, Arnaud Monnet

Sound engineer Guillaume Vesin


Executive Producer L’Espace des arts, scène nationale de Chalon-sur-Saône

Coproduction Cie Les Cambrioleurs – Comédie de Caen, centre dramatique national de Normandie – L’Espace des arts, scène nationale de Chalon-sur-Saôn – Le Théâtre des Célestins à Lyon – Le Parvis, scène nationale de Tarbes – Le Théâtre Gérard Philipe, Champigny – Le Grand Logis, scène conventionnée à Bruz – Le Théâtre du Pays de Morlaix

With support from T2G-CDN de Gennevilliers and of the Etablissement Public du Parc and the Grande Halle de la Villette

With the artistic participation of the Jeune Théâtre National. This text received support from the Centre National du Théâtre


Written in 1894, Petit Eyolf is probably Henrik Ibsen’s darkest and most disturbing play. Young Eyolf is an 11 year old boy, with one leg paralyzed due to a terrible fall he took as a baby while his parents were making love. After a mysterious Rat-Wife visits, Eyolf is found drowned in the nearby fjord. The death of a child: a tragedy which explodes all family and intimate connections. This new translation by the novelist Alice Zeniter “renders contemporary this text riddled with the unspoken,” and in a set where Eyolf’s room, transformed into a glass cube, becomes a mental space, a matrix for the unsettling strangeness which eats away at what is real. Julie Berès creates an acoustic and visual universe where visions form, transposing the subconscious parts of the characters. “Making theatre,” according to Julie Berès, “is to bring forth the subconscious hidden inside us, showing the reversability of appearances, the instability of masks, the rumbling of memories held just beneath the surface

Comédie de Caen, centre dramatique national de Normandie January 19 to 23, 2014

Théâtre de la Ville-Paris (Théâtre des Abbesses) February 4 to15, 2015

Centre dramatique national de Haute-Normandie Petit-Quevilly Mont-Saint-Aignan February 18-19, 2015

Grand Logis-Bruz February 26-27, 2015

Théâtre du Pays de Morlaix March 5, 2015

Comédie de Valence, centre dramatique national March 11-12, 2015

Théâtre des Célestins-Lyon March 17 to 21, 2015

L’Espace des arts, scène nationale de Chalon-sur-Saône March 24-25, 2015

Le Parvis, scène nationale de Tarbes March 31-April 1st, 2015

Théâtre Gérard Philipe-Champigny April 10, 2015

Théâtre de la Madeleine-Troyes April 23, 2015

Transversales-Verdun April 28, 2015

Théâtre Jean Lurçat, scène nationale d’Aubusson May 12, 2015

Théâtre National Bordeaux Aquitaine, centre dramatique national May 19 to 22, 2015

Le Granit, scène nationale de Belfort June 2nd, 2015


“From the dark, nightmare-infused drama by Henrik Ibsen, Little Eyolf, Julie Berès has created a hallucinatory work. […] She brings it to life, adroitly mixing the monotony of a bourgeois existence without any emotional or sensory horizons, with its devastating opposite: the growing influence of glittering, nightmare visions which Freud would use as inspiration for his own psychoanalytical theories.”

Les Inrockuptibles, February 25, 2015

“With its high-class cast and stunning set, this version is a theatrical shock (…) This production directed by Julie Berès is a jewel.”

Sceneweb, Stéphane Capron, February 14, 2015

“This story could be a religious parable advocating filial love and denouncing egotism. But in Ibsen’s dark play – and in the intelligent production directed by Julie Berès, it becomes more of a Freudian ‘super case.’”

Coup de théâtre, Blog du Monde, Judith Sibony, February 11, 2015