Tag Archives: Théâtre de la ville


THE DAY—a performative investigation of the diurnal rhythms of life and what comes after—is a superlative collaboration between avant-garde cellist Maya Beiser (who conceived the work), dancer Wendy Whelan, composer David Lang, and legendary choreographer Lucinda Childs.

When [Childs started] choreographing dances, in 1968, it was with the predilection for keeping the movement vocabulary relatively simple, seeking complexity elsewhere—in the intricate design of spatial forms and in timing. But in the music-based works choreographed since 1979, which propose a much more complex movement vocabulary, Childs has broken radically with the anti-ballet aesthetic of the other ex- or neo-Duchampian choreographers with whom she has been grouped.

Of all the adepts of the rigorously modern among contemporary choreographers, she has the subtlest and most fastidious relation to classical dance… Childs does not feed balletic movements and positions into an eclectic mix but wholly transforms and reinterprets them. In this, as in other matters, she is adamantly anti-collage.Susan Sontag*

THE DAY was commissioned by Théâtre de la Ville in Paris, Carolina Performing Arts at the University of North Carolina, Jacob’s Pillow, the Joyce Theater, and CAP UCLA, and will be performed by Beiser and Whelan twice this weekend at Royce Hall.


Friday and Saturday, October 18 and 19, at 8 pm.

Royce Hall, UCLA

10745 Dickson Court, Los Angeles.

*Susan Sontag, “A Lexicon for Available Light,” Art in America, December 1983. Collected in Where the Stress Falls (New York: Farrar, Straus & Giroux, 2001). Reprinted in Susan Sontag: Later Essays (New York: Library of America, 2017), 364–379.

The Day, Maya Beiser, Wendy Whelan, David Lang, Lucinda Childs: Beiser and Whelan in performance, photographs by Nils Schlebusch. Images courtesy and © the artists, the photographer, and CAP UCLA.


It’s an active week in Los Angeles for international theater of resistance. In addition to Redcat’s presentation of Mateluna, CAP UCLA is bringing in the THÉÂTRE DE LA VILLE production of Albert Camus L’ETAT DE SIÈGE for two nights.

Camus’ piece—an allegory about authoritarian corruption, with original mise en scène by Jean-Louis Barrault—was originally staged in 1948. This new production, directed by Emmanuel Demarcy-Mota, will complete its current U.S. tour at the Brooklyn Academy of Music next month.


THÉÂTRE DE LA VILLE—L’ETAT DE SIÈGE / THE STATE OF SIEGE, Thursday and Friday, October 26 and 27, at 8 pm.

ROYCE HALL, 10745 Dickson Court, UCLA, Los Angeles.


From top: Jean-Louis Barrault, Maria Casarès, and Albert Camus in 1948; Théâtre de la ville production of L’état de siège/The State of Siege, by Albert Camus. Théâtre de la ville image credit: France Inter.



Théâtre de la ville's production of Albert Camus' L'état de Siège/The State of Siege. Image crdit: France Inter