Solo à table

In 2014, Claire Diterzi founded the company Je garde le chien, the culmination of a journey that began in the 1980s. Rejecting conventional frameworks, she explores a form of song that is free, cross-genre, and multidisciplinary, opening onto new spaces for invention. Her work gives rise to a bold, poetic, and political form of musical theatre, driven by strong female figures. Shaped by numerous artistic collaborations, she asserts a singular body of work, guided by a constant commitment to freedom and creation.

www.jegardelechien.fr

The artistic journey of Claire Diterzi can be read as a constant quest for emancipation. It began in Tours with the punk-rock collective Forguette Mi-Note, with whom she toured alternative stages across Europe. In the 1990s, she founded the trio Dit Terzi, and after a two-year collaboration with choreographer Philippe Découflé, she embarked on a solo career inaugurated by the album Boucle (2006).
This solo career quickly sought to break away from the conventions of the music industry, resisting both industrial and institutional standardization. Drawing on theatre, Claire Diterzi conceives her works as stage pieces before thinking in terms of “albums” and “tours”: Tableau de chasse (created at the Théâtre de Chaillot in 2008), followed by Rosa la Rouge—in which she portrays Rosa Luxemburg in a production directed by Marcial Di Fonzo Bo at the Théâtre du Rond-Pointin 2010—reflect a singular desire to “place songs in space,” marking the early milestones of a bold and uninhibited new form of musical theatre.
This musical theatre has evolved through encounters with theatre-makers, choreographers, writers, visual artists, and filmmakers. The strong female figures that inhabit it—from Calamity Jane to Tassadite, a Kabyle-Ivry heroine, and including Sarah Kane, Rosa Luxemburg, and Anna Karenina—clearly express a deep commitment to freedom.
Thus, in 2014, shortly after returning from the Villa Médicis, where she became the first non-classical musician to be admitted, she founded her own company, Je garde le chien. After 69 battements par minute, a performance created from texts by Rodrigo García at the Théâtre des Bouffes du Nord (2015)—which led to a Journal de création presented on numerous French stages (from the Festival Mythos in Rennes to the Festival d'Avignon)—came L’Arbre en poche in 2018: a highly آزاد adaptation of The Baron in the Trees by Italo Calvino. The piece features a countertenor and a percussion ensemble performing, among other works, a composition by Francesco Filidei, and was co-directed with Frédéric Hocké.
In 2022, she created De Bejaïa à... at the Théâtre Molière, as well as Puisque c’est comme ça je vais faire un opéra toute seule, her first production for young audiences (commissioned by the CDN de Sartrouville). Anny Karénine (2025) is the latest stage in a journey that takes delight in defying aesthetic categories.
Alongside this path, Diterzi continues to cultivate her own distinctive way of reaching audiences: her Concerts at the Table, performed solo or as a duo with percussionist Stéphane Garin, take place in a wide variety of contexts—private homes, prisons, gardens, or care homes—bringing her work into direct and intimate contact with people.

Writing, composition, and stage Claire Diterzi
Vocals and instruments Claire Diterzi

Production La Compagnie Je garde le chien, subsidized by la DRAC-Centre Val de Loire
Coproduction SMAC Les Bains-Douches, Lignières-en-Berry