THE REST will be familiar to you from the cinema

“What is a Sphinx ?

Why does a Sphinx kill ?”


Do you remember ?

For having resolved the Sphinx’s riddle, Oedipus is rewarded with Jocasta’s hand and the throne of the city of Thebes. One day, he finds out that Jocasta is his own mother. After this revelation, his sons Eteocles and Polynices decide to oust him from the throne. Oedipus foretells them that they will fight to the death for power. In fear of this curse, the two brothers make a pledge to reign one year each alternately.


At the end of the first year, Eteocles refuses to pass the power to his brother Polynices who, determined to take his turn on the throne, comes back to Thebes at the head of a powerful army. As they prepare to fight on the battlefield, Jocasta commences a final attempt of conciliation to prevent a war that could endanger the city of Thebes, the life of her people, and eradicate her bloodline”.

Characters: Jocasta, wife and mother of Oedipus: Sofy Jordan Antigone, daughter of Oedipus and Jocasta: Jeanne Peltier-Lanovsky Minder/Teiresias, a prophet/Softly-Spoken Officer: Jacques Mandréa Polynices, son of Oedipus and Jocasta: Albert Huline Eteocles, son of Oedipus and Jocasta: Clément Amézieux Kreon, Jocasta’s brother : Julien Gourdin Oedipus : Éric Schlaeflin and a number of Girls: Emmanuelle Bacou, Trista Ma, Mara Molinaro

Text: Martin Crimp’s The Rest Will Be Familiar to You from Cinema

Stage director: Angie Pict 

Dramaturgy: Maxime Reverchon, Eric Schlaeflin

Body accompaniment: Laura Boudou

Lighting design / Scenography: Manon Deplaix, Félix Doullay

The play

Written “after Euripides’ Phoenician Women”, “The Rest will be familiar to you from cinema” replicates its shape and story; however, it differentiates itself through a game of repetitions and overlaps that undermine the tragic path and theatricalness of the heroes, to the point of exhaustion. Like a story repeating itself over and over.

Off-camera, war rages; its rumour spreads and infects language and bodies. The theatre is its epic echo, and resonates as a sounding board of the surrounding turmoil.

The girls

The author indicates that “a number of Girls” are present inside a large decaying house, in which they establish a strange game of questions and answers. The Girls truly handle the “entertainment” interspersed with tragic moments, giving the audience a voyeuristic pleasure…

From the first scene, the game is introduced by the voice of the Girls: “How can the dead live now?” The actors will try and answer this question by playing the tragedy and employing the theatrical device, under the look of a dystopian choir.

Enacting power

The central thematic of the play is power within the city. Who has power? Is power visible? Is power shareable? Is power given or taken? Is it abolished?

How does it circulate within the choir of Girls, within the family? How is it incarnated in the bodies and voices of the actors/characters? How does it pass from one body to another?

These questions sound like a “ballad of power”, but also ask the spectator: “What would you be ready to do to keep power, if you had it?”