Mariette Navarro, born in 1980, is an author and dramatic adviser. She studied modern literature and theatre studies at the University of Lyons before attending the \u00c9cole Sup\u00e9rieure d\u2019Art Dramatique des Th\u00e9\u00e2tre National de Strasbourg.<\/p>\n
Her writing and her theatre work are closely intertwined and some of her texts emerge directly from rehearsals, for example, \u00bbLe bal d\u2019Emma\u00ab (2013; tr.: Emma\u2019s Ball) or \u00bbElle br\u00fble\u00ab (2013, tr.: She\u2019s Burning), completed in collaboration with the director Carolina Guiela and her Compagnie des Hommes Approximatifs. In 2012, she wrote \u00bbProdiges\u00ae<\/span>\u00ab (2011; tr.: Wonder\u00ae<\/span>) for the director Matthieu Roy and the Compagnie du Veilleur, which was also released as a book in the same year. In book form, Navarro has so far published \u00bbAlors Carcasse\u00ab (2011; tr.: Skeleton) and \u00bbNous les vagues\u00ab (2013; tr.: We Waves), neither of which can be allocated to any particular literary genre. At the heart of \u00bbAlors Carcasse\u00ab is a human, but neither male nor female figure, in an existential decision-making situation. While the book focuses on an individual, \u00bbNous les vagues\u00ab deals with the \u00bbwe\u00ab. The text begins with \u00bbOkay, let\u2019s become visible, even more visible, that\u2019s what we have to do \u2026\u00ab and, in what follows, it invokes and explores the possibilities of a collective uprising. Over the five acts of the text, the individual speaking roles first of all swell to ever greater lengths before ultimately shrinking again, and the author leaves open whether it is a script for an increasing number of voices or \u2013 and this is an interpretation offered by the different writing styles \u2013 the monologue of a man sitting at his beloved one\u2019s deathbed. Despite its underlying pessimistic tone, the text ends with a reference to spring. Starting in Algeria in 2009, \u00bbNous les vagues\u00ab possibly picks up on the first signs of what was later to become the Arab Spring. The text was written as part of an exhibition scholarship in cooperation with the Auberge des Aftis (Jijel, Algerien) and the Noir sur blanc collective: Chrysalide Algier \u2013 Gertrude II Lyon \u2013 Pers\u00e9phone S\u00e9tif. In 2010, the author was awarded a grant by the Centre National du Th\u00e9\u00e2tre for the text. Its translation was commissioned by the Atelier Europ\u00e9en de la Traduction as part of a multilingual project funded by the French Ministry of Culture in a project looking for a European \u00bbwe\u00ab.<\/p>\n Navarro has been a member of the reading group of the Th\u00e9\u00e2tre national de la Colline in Paris since 2010 and, since 2014, she has been working for the Com\u00e9die de B\u00e9thune, Centre Dramatique National du Nord. She received working grants from the Centre des auteurs dramatiques in Montreal in 2007 and 2011). \u00bbAlors Carcasse\u00ab was awarded the Robert Walser Prize for a first book in 2012. Mariette Navarro lives in Paris.<\/p>\n","protected":false},"author":1,"featured_media":11596,"template":"","jct-role":[1080],"jct-origin":[501],"jct-ilb-years":[608],"class_list":["post-40577","authors","type-authors","status-publish","has-post-thumbnail","hentry","jct-role-author","jct-origin-france","jct-ilb-years-2014-en"],"yoast_head":"\n