Theatrically Yours - T.A.N.
Throughout
the ages, theater has provided an artistic form of entertainment while
emulating the customs and values of the societies in which it is
performed. During times of monarchy or dictatorship, it portrays the
image that those in power wish it to portray. In the days before mass
media was available, it could be wielded as a powerful tool to shape
public opinion according to current political policy.Today,
theater still mirrors the customs and values of the societies in which
it is performed. But it often fails to reflect those of the minority
populations of that society. The Théâtre de l’Air Nouveau (T.A.N.) is a
theater company that seeks to fill this void as it relates to the
French Antillean and Guyanese populations of Paris.
In
1983, Marie-Line Ampigny and Luc Saint-Eloy founded a company called
Théâtre de l’A.I.R. (Artistes Immigrés Réunis, or Immigrant Artists
Reunited). The group’s mission was to bring Antillean-Guyanese theater
to life on French soil. This was a formidable undertaking, since
funding for projects lagged far behind the enthusiasm of its creators.
Nevertheless, the troupe produced four plays – Carmen La Matadore
(1983), Le Bourreau d’Antigone (1984), Ti Jean et l’Oiseau Diable
(1985) and A Coups de Gueule d’Amour (1986) before Ampigny exhausted
her financial and creative resources and bade adieu to the company.
Luc
Saint-Eloy took up the flame and re-baptized the troupe Théâtre de
l’Air Nouveau (T.A.N.). With fierce determination, he has piloted
T.A.N. through both good and hard times to the present day. He has
remained true to the spirit of the original company, striving to bring
Antillean culture to the general public by incorporating dance, song
and poetry into his theatrical productions and by engaging Antillean
and other African and Diaspora artists to perform in them.
A
native of Guadeloupe, Saint-Eloy has directed more than 25 productions
since 1986. This includes five editions of Les Migans Poétiques – a
dinner theater featuring Diaspora poets from Guadeloupe (1999 and
2002), Martinique (2000 and 2003), and Haïti (2001). An open mike is
extended to those attending the event so that anyone who is willing can
share his/her poems.
One of his
greatest achievements was the production of Trottoir Chagrin (1992), a
gripping representation of an encounter between a prostitute and the
man who murdered her brother, one year after the crime occurred.
Critically acclaimed, it was performed roughly 100 times – in Paris and
Avignon, in Guadeloupe and Martinique, in Carthage… Ten years later, it
was published by Editions New Legend in Paris.
In
1998, Saint-Eloy oversaw the opening of the Centre Culturel du T.A.N.
in the northeast Paris suburb of Pantin. This multifaceted center
offered a number of services, including artistic and cultural workshops
(e.g. dance, drumming, Creole language), a cinema club, cultural
voyages, and a commercial outlet for artists and writers wanting to
sell their works.
In the
socio-economic arena, T. A. N. worked to support tourism in the French
Antilles and French Guyana and to inform members about fiscal issues
such as financial aid for students and tax declarations.
The
center was politically active as well, spearheading a movement to
establish a memorial to the victims of the French slave trade at Place
des Antilles in Paris’ 12th arrondissement. In 1998, Saint-Eloy
organized a phenomenal two-part event to commemorate the 150th
anniversary of the second abolition of slavery in the French colonies.
The first part was a silent march that proceeded from Porte Dorée to
the Place des Antilles. The second part was a theatrical procession
conceived to symbolize the liberation, honor and respect for Black
peoples around the world that made its way from Place des Antilles to
the Louvre. It featured 450 actors in costume who represented these
peoples as well as great historical figures.
T.A.N.
has struggled against a perpetual lack of financial resources
throughout the years. As a result, it closed the doors of its cultural
center in 2002 after four years of intense and positive community work.
But having survived many disappointments, the company could not let its
20-year anniversary pass without a celebration. Thus, on the evening of
November 10, 2003, the troupe threw itself a gala. And roughly 1000
people assembled at Club Med World in Bercy Village to support and
cheer its tenacious longevity.
The
evening consisted of a superb fashion show entitled KASADEV, directed
by Saint-Eloy and featuring the designs of T.A.N.’s cultural manager
and former fashion model Astrid Siwsanker. Each "act" evoked
performances staged by the troupe throughout its history. Cocktails and
a splendid tropical buffet followed. T.A.N. projected video of its
various performances – an important, permanent record of its
achievements throughout the years. The evening was culminated by a
musical concert and dancing until dawn.
What’s
next for T.A.N.? On the socio-political scene, it continues to lobby
for the erection of a Paris monument to the victims of the French slave
trade. On the theatrical scene, Luc Saint-Eloy is considering a new
production for next year – this time, a musical.
--
Monique Y. Wells is co-owner of Discover Paris! - Personalized Itineraries for Independent Travelers as well as the author of Food for the Soul - A Texas Expatriate Nurtures her Culinary Roots in Paris.
Monique Y. Wells is co-owner of Discover Paris! - Personalized Itineraries for Independent Travelers as well as the author of Food for the Soul - A Texas Expatriate Nurtures her Culinary Roots in Paris.
