The Theatre of Catastrophe: A Hard-Hitting Play about France's Grenfell Moment
In the aftermath of the devastating collapse of two dilapidated houses in Marseille on November 5th, 2018, a turning point for the city was set. The tragedy highlighted urban inequality and social deprivation, sparking a national outcry. Playwright and director Mathilde Aurier has written and directed a play called "65 Rue d'Aubagne," which is her contribution to this powerful civic response.
Aurier's play is anchored in the experiences of Nina, a fictional resident who wasn't present on the night of the collapse. The narrative covers the aftermath, evacuations of over 4,000 people living in similar conditions, the struggle with bureaucratic red tape, and the loss of a Mediterranean lifestyle that was shattered.
The play's heavy fragmentation, jumping between different perspectives and times, is a deliberate choice to mirror the chaos of the event. Aurier says she wanted to capture the sense that there was a before, during, and after to this drama, just like the housing collapses themselves seemed to collapse under the weight of their own fragility.
While writing about the Grenfell moment has reignited her passion for storytelling, Aurier is aware that there's still much left unsaid. The play doesn't shy away from the politics at play or the indifference of officials, but it also grapples with the emotional toll on those affected and the struggle to find meaning in the aftermath.
Aurier draws inspiration from British playwright Howard Barker's "theatre of catastrophe," which has long been a source of fascination for her. Her own work is characterized by a focus on strong female figures and an exploration of power, violence, and patriarchy.
The play's themes of trauma, grief, and the struggle to rebuild are timeless, but they're particularly relevant in Marseille, a city where social and economic inequalities have long been simmering just below the surface. As Aurier admits, she is no urbanist, and her work may not offer a solution to the city's housing crisis, but it does highlight the need for meaningful reform.
Ultimately, "65 Rue d'Aubagne" is a powerful exploration of catastrophe and its aftermath. It's a testament to the resilience of the people affected by this tragedy and a reminder that even in the darkest moments, there can be a glimmer of hope and solidarity.
In the aftermath of the devastating collapse of two dilapidated houses in Marseille on November 5th, 2018, a turning point for the city was set. The tragedy highlighted urban inequality and social deprivation, sparking a national outcry. Playwright and director Mathilde Aurier has written and directed a play called "65 Rue d'Aubagne," which is her contribution to this powerful civic response.
Aurier's play is anchored in the experiences of Nina, a fictional resident who wasn't present on the night of the collapse. The narrative covers the aftermath, evacuations of over 4,000 people living in similar conditions, the struggle with bureaucratic red tape, and the loss of a Mediterranean lifestyle that was shattered.
The play's heavy fragmentation, jumping between different perspectives and times, is a deliberate choice to mirror the chaos of the event. Aurier says she wanted to capture the sense that there was a before, during, and after to this drama, just like the housing collapses themselves seemed to collapse under the weight of their own fragility.
While writing about the Grenfell moment has reignited her passion for storytelling, Aurier is aware that there's still much left unsaid. The play doesn't shy away from the politics at play or the indifference of officials, but it also grapples with the emotional toll on those affected and the struggle to find meaning in the aftermath.
Aurier draws inspiration from British playwright Howard Barker's "theatre of catastrophe," which has long been a source of fascination for her. Her own work is characterized by a focus on strong female figures and an exploration of power, violence, and patriarchy.
The play's themes of trauma, grief, and the struggle to rebuild are timeless, but they're particularly relevant in Marseille, a city where social and economic inequalities have long been simmering just below the surface. As Aurier admits, she is no urbanist, and her work may not offer a solution to the city's housing crisis, but it does highlight the need for meaningful reform.
Ultimately, "65 Rue d'Aubagne" is a powerful exploration of catastrophe and its aftermath. It's a testament to the resilience of the people affected by this tragedy and a reminder that even in the darkest moments, there can be a glimmer of hope and solidarity.
. Like, I get it, Grenfell was a huge deal and Marseille's housing crisis is real, but do we really need another play to spell it out for us? It feels like every artist is just jumping on the "social justice" bandwagon these days, instead of actually doing some real research or trying to offer something new. And don't even get me started on the whole " theatre of catastrophe" thing - it sounds like a bunch of pretentious nonsense 
like how do ppl just live in those conditions? i know we got our own issues here but france seems way more messed up 
so yeah i guess this play sounds kinda interesting but who writes a whole thing about something that happened 5 years ago? and whats with the title "theatre of catastrophe"? did they run out of ideas for names 
can we talk about something else... like new season of my fave show is coming out soon! 
anyways, i feel bad for the people who lost their homes and stuff. i wish there was a way to make housing more affordable for everyone... like, why can't we just have nice apartments with clean air and water? 
i mean, i know it's not that simple but still... maybe i'm just too new to all this and i'll figure it out as i go lol what's the theatre of catastrophe thing tho? sound cool
. The play sounds like it's gonna be a really raw and honest portrayal of what happened, I'm low-key excited to see it 
.
. on one hand, i think it's amazing that someone is tackling this super sensitive topic like Grenfell moment in a theater play... like, it's so needed, you know? 
but at the same time, i'm worried that it might be too much for people to handle, like, it's already traumatic enough what happened in 2018... 
and then again, i think we need more conversations about this stuff, we can't just ignore it or pretend it didn't happen 
so yeah, idk, maybe the play will be super powerful and cathartic, or maybe it'll be too much for some people