“Forgive me, gentlemen, but I’ve decided to speak plainly this evening. Look at yourselves and look at us. Four women appear before four men... And to talk about what? Probes, uteruses, bellies, pregnancies and abortions! Would you not agree that this is already where the fundamental and intolerable injustice lies? These four women appearing before four men.” This extract from Gisèle Halimi’s plea in defence of Marie-Claire, 16, who had an illegal abortion, dates from 1972. On the accused bench next to the teenage girl sit her mother, her RATP colleagues and the “angel maker”. With their agreement, the lawyer transforms the defence into a public forum to denounce the injustice of the 1920 law prohibiting abortion.
Pauline Bureau likes to cross theatre and societal issues. As in her previous show Mon Cœur, based on the Mediator scandal, in which she described the whistle-blower Irene Frachon as “the kind of heroine for today I need to see on stage”, her characters, outlaws in a changing society, are driven by a salutary resolve. For her first production at the Comédie-Française, she has written a play based on the “Bobigny trial”, whose repercussions on public opinion contributed to the adoption of the Veil law on the voluntary termination of pregnancy in 1975. The action of the play revolves around these accused women who have agreed to make their lives a symbol, around Gisèle Halimi’s commitment, and the determination of the many personalities who came to “testify”: the Nobel Prize winner for medicine Jacques Monod, the politician Michel Rocard or, in the tradition of the Manifesto of the 343, the actress Delphine Seyrig.

WORLD CREATION

Avec la participation artistique du Jeune théâtre national
Avec la participation de l’Ina (Institut national de l’audiovisuel)

Le texte de la pièce est à paraître aux éditions Actes Sud-Papiers

LA PRESSE EN PARLE :

« Montrer une personne ordinaire devenir héroïne contre son gré »
Après Mon Cœur, sur le scandale du Médiator, l’auteure et metteure en scène Pauline Bureau présente à la Comédie-Française le captivant Hors la loi, fruit d’un long travail de recherche autour d’un autre sujet sociétal : le procès de Bobigny, qui conduisit à l’adoption de la loi Veil sur l’IVG fin 1974.

• Libération

Hors la loi, la pièce sur l’avortement qui émeut Paris.

• Europe 1

Un spectacle magistral autour du procès de Bobigny sur l’avortement. Un hommage émouvant à la liberté des femmes, au moment où un peu partout dans le monde, de nouvelles voix s’élèvent pour remettre en cause ce droit.

• sceneweb.fr

LA PIÈCE EN IMAGES :

• Voir le reportage sur Arte TV
• Voir l’émission sur France 2

THEATRE PROBABLY HAS A LOT TO DO WITH JUSTICE: just like on stage, in court characters play roles and argue their positions. An audience attends the hearing, as if it were a theatrical performance. It is therefore not surprising to find judicial types, subjects and situations in the repertoire, which sometimes transforms the stage into a forum in which to examine major societal issues, such as the right to abortion in the production by Pauline Bureau.

The satire of the judicial system

While Molière was the satirist of the medical profession, the judicial system also has its polemicist in the person of Racine: Les Plaideurs (The Litigants), the tragedian’s only comedy, depicts characters caught up in the frenzy of endless argument, whose only passion is quibbling and who even going so far as to organise the trial of a dog charged with stealing a capon. Following Racine, many comedies with evocative titles took up this theme, although with less brilliance it has to be said: L’Avocat sans étude by Rosimond (1680), L’Avocat patelin by Brueys (1706), and Les Plaideurs sans procès by Charles-Guillaume Étienne (1821).

Historical trials

In the same vein as Pauline Bureau’s production, which features lawyer Gisèle Halimi’s famous defence of her client Marie-Claire, who was being tried for having had an abortion (1972), other historical trials have been played out on the stage. The revolutionary period in particular inspired many texts and the Revolutionary Tribunal has been depicted many times. The plot of Victorien Sardou’s Thermidor (1891) is constructed around the Robespierre trial, reproducing some of the famous lines from the official ruling. The Revolutionary Tribunal is totally reconstructed in Saint-Georges de Bouhelier’s Le Sang de Danton (1931), dedicated to the famous orator of the title.
These plays, written with the benefit of hindsight, reconstruct a historical moment, which is not always the case with those produced contemporaneously to events or those with a political scope. The revolutionary period thus abounds in circumstantial texts. On a similar theme (the trial of nuns during the Revolution), one finds an appreciable difference in tone between Les Victimes cloîtrées, a drama by Jacques Marie Boutet de Monvel (1792) and Dialogues des carmélites by Georges Bernanos (1961).

Exemplarity and societal development

One of the great court scenes in the Repertoire is undoubtedly the one that occurs in the third act of Beaumarchais’ Marriage of Figaro (1784), which is a critique of seigneurial justice and the rights attached to it, such as jus primae noctis, as already addressed by Voltaire in Le Droit du seigneur in 1762. These plays, without mentioning famous trials and while remaining fictions, show abusive everyday practices and through the exemplarity of certain situations seek to denounce their effects. They therefore contribute to the evolution of society with regard to these practices.
The judicial, police and carceral worlds were more widely addressed by the theatre in the twentieth century to denounce aberrations, abuses and sometimes inequities.
Some authors practically made it their field of specialisation, such as Courteline (L’Article 330, Les Balances, Un Client sérieux, Le Commissaire est bon enfant, Le Gendarme est sans pitié) or Jean Genet (Le Balcon, Les Nègres, Haute surveillance, Les Paravents, Le Balcon).

Political questions resurfaced in the pivotal period of the Second World War. In Antigone, Jean Anouilh appropriated a great myth but unlike Sophocles, in his version the conflict is no longer between divine law and human law, but between the law of the State and that of the individual. Written in 1942, the play thus responded to French society’s qualms about the Occupation it was undergoing at the time. The post-war judicial system was for its part denounced in Marcel Aymé’s La Tête des autres (1952).

The inequity of justice can also inspire great humanist causes, as in Eugène Brieux’s La Robe rouge (1900), which depicts magistrates’ harassment of defendants of modest means, or Sartre’s La Putain respectueuse, which evokes a trumped-up trial against African-Americans in America in the 1930s. Pauline Bureau’s follows in this line of plays espousing major causes.
Indeed, some trials have been able to change attitudes and laws on crucial subjects, subjects which it seems important to speak of again today. Theatre has always been an effective means of publicising these issues.

• Visual: Les Plaideurs – Suzanne Reichenberg, Pierre Laugier, Louis Leloir, Jules Truffier, Coquelin cadet, engraving, album Pasteur, [1897] – Coll. CF

• Visuel : Les Plaideurs – Suzanne Reichenberg, Pierre Laugier, Louis Leloir, Jules Truffier, Coquelin cadet, gravure, album Pasteur, 1897 © Coll. Comédie-Française

Text and Staging**:** Pauline Bureau
Scenography: Emmanuelle Roy
Costumes: Alice Touvet
Lights: Bruno Brinas
Video: Nathalie Cabrol
Original music and sound: Vincent Hulot
Makeup and Hairstyles: Catherine Saint-Sever
Dramaturgy: Benoite Office
Assistant stage manager: Sabrina Baldassarra

Sarah Brannens: Martine, la soeur de Marie-Claire ; Suzanne, l’assistante de Maître Halimi et Claire Saint-Jacques
Bertrand de Roffignac: Daniel; le Journaliste et le Procureur