Je sors ce soir

T.O.C. is a theater company from Île-de-France, that has been funded over twenty years ago. T.O.C. focuses on avant-garde, unpublished texts and manifestos. Recent productions include La Plume et le fusil (based on Louise Michel), L’Avenir de la société industrielle (based on Theodor Kaczynski’s manifesto), and L’Enfer préventif (based on Mireille Havet’s Journal). The company is supported by the DRAC and the Île-de-France Region.

www.letoc.fr

After graduating the ENA, Guillaume Dustan—whose real name is William Baranès—became an administrative judge. In January 1990, he learned he was HIV-positive. At the time, there were no treatments, and the news felt like a death sentence. He decided to leave everything behind to become a writer. He chose the name Dustan, after an English archbishop, and to ensure his books would be shelved next to Marguerite Duras in libraries. His first three books were published by P.O.L. *Dans ma chambre* was published in 1996; it describes his unprotected homosexual relationships at a time when AIDS was raging. *Je sors ce soir* was published in 1997, and finally, *Plus fort que moi*, the following year, explores sadomasochistic relationships. His novel *Nicolas Pages*, published in 1999, won the Prix de Flore.
Thereafter, he published nearly one novel a year until 2005. He also launched the first French LGBT collection: “Le Rayon gay,” published by Baland. In his writings, Dustan was the first to assert the distinctiveness of gay culture, at the intersection of hedonism and politics. Once attacked and reduced to controversy over barebacking, Dustan’s work has now proven to be a major milestone in the literature and pop counterculture of the 1990s. His literary influences include Marguerite Duras, Bret Easton Ellis, Duras, Warhol, and Hervé Guibert...

Text and dramaturgy are at the heart of her work, which takes shape through the staging of theatrical texts—whether fragmentary, unfinished, or problematic—as well as theoretical texts, avant-garde works, and manifestos. Mirabelle co-founded the T.O.C. Company (Théâtre Obsessionnel Compulsif) in the 2000s and directs the shows within the collective. The T.O.C. company is subsidized by the DRAC and the Île-de-France region. Mirabelle teaches Theater Studies at the Sorbonne Nouvelle University and also regularly lectures at Aix-Marseille University, as well as in high schools and middle schools in Île-de-France, with amateur groups, and in prisons. She served as Bernard Sobel’s assistant director for over ten years and worked with him on texts by William Shakespeare, Bertolt Brecht, Alexander Ostrovsky, Marius von Mayenburg, Christopher Marlowe, and Yuri Olesha. During her career, she also crossed paths with Romeo Castellucci’s Socìetas Raffaello Sanzio (Purgatorio, Berlin #03, Paris #06, Brussels #04, Marseille #09, and Crescita XIII), the Collège de Pataphysique, and the Emballage Théâtre team (Stalingrad by Éric Da Silva), and assisted Julien Fiséra on the productions of Face au mur by Martin Crimp and Le Funambule by Jean Genet. Mirabelle studied directing and dramaturgy at the University of Paris X Nanterre between 1999 and 2005 (Bachelor’s, Master’s, and Master’s degrees).

He trained at the CNR in La Roche-sur-Yon, then at the CNR in Grenoble under Philippe Sire, and completed several internships, notably with Jean-Michel Rabeux, Claude Régy, and Claude Degliame. In 2002, he enrolled in the acting program at the TNS school, where he took workshops with Annie Mercier, Odile Duboc, Nicolas Bouchaud, Eloi Recoing, Stéphane Braunschweig, Jean-Louis Hourdin, and Laurent Gutmann. He has also worked on staged readings with the Compagnie du Menteur Volontaire (Kafka, Tolstoy, Chekhov, Artaud...). After graduating in 2005, he appeared in Chekhov’s A Wedding, directed by Laurent Brethome, in Robert Walser’s The Pond with Emilie Rousset, and then in Handke’s Gaspard with Richard Brunel. He reunited with Annabelle Simon, a fellow graduate of the TNS, for Marivaux’s La Dispute, Strindberg’s Créanciers, and Gaetano, based on Massimo Troisi. He collaborated with Chantal Morel (Dostoyevsky’s The Possessed, David Storey’s Home), with Renaud Diligent (Marivaux’s The Trial, Rebekka Kricheldorf’s The Ballad of the Conifer Killer), and with Vincent Bouyé (Marina Tsvetaeva’s The Boy, Guillevic’s Paroi, Savinkov’s The Pale Horse). He has also worked with Charles Chemin and Carlos Soto (Girlmachine), Benjamin Moreau (Labiche’s L’Affaire de la rue Lourcine), Karl Brochoire (L'Ecume, based on Boris Vian), Petra Körösi (Arpad Schilling and Eva Zabezsinszkij’s Jour de colère), and Sylvain Maurice cast him as Ernesto in Marguerite Duras’s La Pluie d’été. He plays the title role in Büchner’s Woyzeck under the direction of François Jaulin, with whom he reunites in 2019–2020 for Dostoevsky’s The Dream of a Ridiculous Man. Je sors ce soir marks his sixth appearance in a TOC production, following Iris, L’Auto T.O.C., Robert Guiscard, Turandot, and Le Précepteur.

Didier Léglise is a DJ, composer, and sound designer. As a multidisciplinary artist, he has been blending music, visuals, and performance since the 1990s. He began his musical career while studying visual arts in Bordeaux. After participating in numerous electro-acoustic, new wave, electro, and hip-hop music projects, including Tribal Jam (which went gold in 1997), he went on to create sound compositions and produce live and multi-channel broadcasts for numerous theater companies. He is also a live and studio sound engineer. As a sound designer, he collaborates in the fields of fashion, advertising, and video games. He continues to create immersive installations blending sound, video, and interactive elements, bridging the gap between the performing arts and digital arts. In 2017, he founded the music label Milano Records / Milano Editions with composer Grégoire Garrigues. A regular collaborator with the T.O..C. company since Turandot (2007), he created the video for Iris (2016) and L’Avenir de la société industrielle (2021). For Je sors ce soir, he explores the connections between the club and queer memory, between image and vibration.

Kerwin Rolland is a visual artist, performer, composer, and sound designer; he is also an engineer specializing in neuroscience, acoustics, and computer science. His work explores “vibration” by combining its emotional and physical potential through rigorous conceptual approaches. He frequently collaborates with artists such as Robert Aubrey Lowe, Dominique Blais, Hélène Breschand, Lorena Dozio, Joris Lacoste, Adelaïde Fériot, Anne Le Troter, Ola Maciejewska, Michèle Lamy, Olaf Nicolai, Julien Prévieux, Caecilia Tripp, and Le T.O.C. His work is exhibited internationally. He also provides consulting and production services for the Berliner Philharmoniker, the Centre National des Arts Plastiques, Lafayette Anticipation, and La Villa Arson. Kerwin Rolland lives and works in Paris. After graduating with an engineering degree from INSA Rennes in 2000, he studied composition in 2005 at the ENMD in Evry, at IRCAM (Paris), and then at STEIM (Amsterdam). In 2011, he was a resident at the Conservatoire de Villetaneuse; a winner of the 2013 Sonic residency at HEAD Mulhouse; and in 2019, he shared a research residency on marine environments with Caecilia Tripp at the University of Miami. He has created most of the musical soundtracks for the T.O.C. company since the “Feedback” project in 2010.

With Nicolas Cartier
Music creation Kerwin Rolland
DJ Didier Léglise
Dramaturgy  Muriel Malguy
Repeater Sarah Gindre Boudiar
Stage direction Mirabelle Rousseau
Artistic advice Christophe Vix Gras
Costume design Brice Wilsius & Mina Ly
Choreographic advice Arnaud Pirault & Léonel Bardot

Production Le T.O.C. – Théâtre Obsessionnel Compulsif
La compagnie T.O.C. is funded by la DRAC Ile de France-Ministère de la Culture et par la Région Ile de France (cultural and artistic outreach)
Supported by du TMB Jean Guérin-Montreuil, de la Ville de Montreuil, du Théâtre Antoine Vitez-Ivry-sur-Seine, du 104-Paris
Support for the creation of a soundtrack and support for the production and distribution of la SPEDIDAM

With thanks to Sophie Baranès