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In 2019, the Company recognizes89 performancesof which22 in the Center Region - Loire Valley,

63 on the national territory(excluding liability), and 4 abroad for a total of approximately5,400spectators.

Since its creation in February 1986, the Théâtre de l'Imprévu has produced23 showsand twenty readings.

The company gave1,935 performancesacross 410 municipalities

including 771 in the Centre-Val de Loire Region, 1,034 on national territory (excluding RCVDL),

130 Abroad.



1986 / Solo for two

Conception and performers: Éric Cénat & Franck Jublot

Artistic collaboration and song: Christel Jouy
Lighting: Marc Guilbaud
Music: Franck Jublot
Makeup: Suzie Fifatin
Set construction: Michel Grandjean
Poster: Jean-Luc Berthon


Adrien has cut himself off from the world by taking refuge in a cabin on the side of a deserted road in order to forget a disappointed love. David, a young criminal hitchhiker, was sentenced by the courts, after a failed robbery, to find "the right path" along this same road. The meeting is inevitable... David's arrival upsets Adrien, his habits, his fantasies, vestiges of his past life. From the friendship that gradually binds the two characters, allowing them to question each other, is born the rebirth in the world of one and the "redemption" of the other...


Premiered at the Espace Gérard Philipe (Orléans-la-Source) on April 25, 1986.

Les Amours

1987 / The Loves of Jacques Le Fataliste

Actors: Éric Cénat and Jean-Christophe Cochard

Adaptation: Francis Huster

Director: Franck Jublot

Musician: Teresa Margarit-Vidal

Lighting: Marc Guilbaud

Makeup: Guylaine Agnez

Poster: Marie-Helene Ferron


Without faith, neither God, nor law, simply in love with a freedom that goes to all winds and which often masks a disturbing, troubled universe, Jacques le Fataliste lets us guess at the end of the 18th century, the upheaval close to the Revolution. The relationship between Jacques and his master, which seemed bathed in a climate combining complicity, licentiousness and philosophy, gradually acquired an underlying malignity and violence until the final and irremediable separation.


Premiered at the Espace Gérard Philippe (Orléans-la-Source) on May 14, 1987.


1988 / Cendrars - Desnos

Artistic collaboration: Éric Cénat and Franck Jublot
Scenography and costumes: Sabine Siegwalt
Lighting: Damien Grossin
Poster: Daniel Perrard


Two different worlds: that of the mystery and hermeticism of Desnos and that of the madness of the modern world where lyricism adapts to the machine, of Cendrars. The Night of Loveless Nights, which Robert Desnos wrote on the night of his thirtieth birthday, is an initiatory night. This night is the night of all nights, it is the place and the time of an awareness, of an intimate revelation. Thanks to La Prose du Transsibérien by Blaise Cendrars, the traveler-spectator discovers the convulsed Russia of 1905, the horrors of poverty and war, but also all the mysterious force of the legends and songs of the Holy Land of Russia, all punctuated by the haunting rhythms of the train.


First creation: Le Moulin (Chartres), May 20, 1988


Second creation: Théâtre de la Tête Noire (Saran), November 23, 1993


1990 / The Caprices of Marianne

Actors: Éric Cénat, Jean-Christophe Cochard, Sophie Daull,

François Genty, Marie Landais, François Maille and Guillaume Van't Hoff

Director: Franck Jublot

Dramaturgy: Eric Cénat

Musicians: Pierre Baranger, Florent Heau and Philippe Recard
Scenography: Jean Tissot
Lighting: Philippe Debray
Costumes: Sabine Siegwalt
Makeup: Fabienne Perrault
Set design: Les Ateliers de Beauce
Costume design: Lucie Tissot and Jöelle Hallot
Dresser: Andrea Matweber
Poster and communication: Brahim Kamboui


True tribute to an exalted youth open to all passions, refusing betrayal and compromise, opposing power with humor and irony, preferring death to a life without love, Les Caprices de Marianne reveals all these problems of existence and of romantic relationships. The characters struggle in this climate of restrained violence, punctuated by music with dramatic and patriotic accents by Guiseppe Verdi (cantor of the Risorgimento) and by sudden bursts of heat where celebration and human drama are intimately mixed. The heightened passions inexorably lead to a sudden tragic outcome of this "comedy" where everyone's destiny is stopped.


Creation of CAC d'Orléans on January 23, 1990

Vies minuscules

1993 / Tiny Lives

Actors: Éric Cénat and Philippe Fauconnier

Director: Jean-Christophe Cochard
Scenography: Christophe Desforges
Lighting: Damien Grossin and Marie-Christine Soma
Costumes: Sabine Siegwalt
Poster and communication: Kevin Benharats


Vies Minuscules by Pierre Michon recounts eight destinies linked, directly or indirectly, to the author's family. We have chosen two: those of André Dufourneau and Antoine Peluchet. These men respectively born around 1900 and 1850 come together in a common desire to escape the material and moral misery of their native Creuse. They then flee to a larger, more expansive elsewhere, the only one capable of realizing their aspirations. A destiny, too great for them, awaits them there: colonial Africa for one, America of the gold rush or prison for the other.


Co-production: The Fake Company
Co-production: Théâtre de la Tête Noire

Creation: Théâtre de la Tête Noire (45), April 5, 1993.

Primo Levi

1995 / Primo Levi

Design: January 1995

Actors: Eric Cénat (Ferdinando Camon)

and Gerard Cherqui (Primo Levi)

Adaptation: Éric Cénat, Gérard Cherqui

and Dominique Lurcel

Director: Dominique Lurcel
Lighting: Philippe Lacombe

Costume: Elisabeth de Sauverzac
Poster: Liliane Lurcel


Ferdinando Camon speaks for the first time with Primo Levi in 1982. Their conversations will spread out regularly, then, until 1986.


Thus, two men talk to each other. Two writers, two "surveyors of memory": one is of Christian culture, the other, as we know, lived as a Jew, forty years earlier, the experience of Auschwitz. The exchanges are both dense and fluid. Whatever the subject (Auschwitz, of course, and Germany - that of Hitler and that of today - but also Solzhenitsin's gulag, the act of writing, the profession of chemist...) the Thought tension arises between the interlocutors from the sense of urgency they both share.


Never complacent, nor overwhelming, the words of Primo Levi are a weapon, tonic,  to apprehend the present and prevent future dangers...


Co-production: Cie Passeurs de Mémoires -www.passeursdemé

Creation: Theater of the Unforeseen


NAC Loiret

Center and Ile-de-France regions

General Council of Loiret - City of Orléans


League for Human Rights (LdH)

Foundation for the Memory of the Shoah (FMS)

Museum of Jewish Art and History (MahJ)

Italian Cultural Center of Paris

Center for research and documentation on internment camps and Jewish deportation in the Loiret (CERCIL)


Support for creation in February 1995:

Italian Cultural Institute, Avignon Festival,

France Culture and ADAMI
Label of the Fiftieth Anniversary Mission
of the Liberation of the Camps

Du vian dans la tête

1996 / Du Vian in the head

Adaptation, acting, singing and staging: Éric Cénat & François Rascal.


One sings and the other speaks... François Rascal sings and

accompanies himself on the guitar. He also replies

to Éric Cénat who, when he is not singing too

- or does not play the virtuosos of the maracas - speaks... In a game of verbal and singing ping-pong, in a universe of cabaret, the two accomplices visit the known universes of Boris Vian.


Premiered at the Boris Vian Library in Saint-Jean de la Ruelle, October 19, 1996.

Les forçats de la route

1999 / The Convicts of the Road

Actors: Eric Cénat and Frédéric Maurin

Director: Jacques David
Scenography, costumes and poster: René-Claude Giraud
Lighting: Philippe Lacombe
Sound universe: Serge Dutrieux
Set design: Stéphane Chapron
General Manager: Gilles Guerre


A neophyte in cycling, Albert Londres not only comments on the Tour de France but writes about France 1924 every day. Freed from the purely sporting stakes, he approaches the event, not as a specialist, but as an observer, with his frank gaze, sharp and generous. Based on the reflections of society through the sporting image, Albert Londres composes a work that goes beyond the race. And if sometimes the text written hastily on the bonnet of his Renault is tinged with naivety or melodrama, the fact remains that it enters straight into literature: it thus offers us the material drama to bring to the scene the exploits of these men who split the flint for 5,425 kilometers.

Co-production: L'Hectare & FOL 35 Creation residency: Théâtre du Cercle Paul Bert (Rennes) Created on June 30, 1999

Lucy Valrose

1999 / Lucy Valrose

Director: Franck Jublot
Vocals: Claire Vidoni (Lucy Valrose)
Piano: Jerome Damien (Adrien)
Costumes: Dominique Cornu
Vocal Preparer: Jasmin Martorel
Lighting: Damien Grossin
Assistant: Anna Vilas
Poster: Julio Gallegos
Communication: Blandine Legrand


Lucy Valrose brings popular cabaret back to life and pays homage to the repertoire of French song. Lucy Valrose seduces and softens by mixing all the emotions of a life, carried by her songs. She sings for her pleasure, to entertain, for the public she challenges as in the cabaret of yesteryear. His stories are sometimes light, sometimes realistic, they speak of misunderstandings and deceptions between husbands and wives, the miseries of life, things that can be confessed and unavowable.
This show is a bit naughty but not entirely immoral.
Everyone then has familiar little tunes in their heads that trot, trot, trot…


Created on December 3, 1999 at the Théâtre de la Tête Noire

La poussière qui marche...

2001 / The dust that walks...

Actors: Claire Vidoni, Odette Simonneau,

Nadine Darmon, Dominique Jacquet, Laurent Claret,

Pascal Martin Granelle, Marc Wyseur and Eric Cenat

Scenography: Philippe Marioge
Lighting: Marie-Hélène Pinon
Costumes: Charlotte Villermet
Music: Serge Dutrieux
Poster: Julio Gallegos


Ten years after the most serious nuclear accident of all time, the Belarusian journalist has returned to the scene to collect the testimony of anonymous men, women, soldiers, peasants, firefighters, doctors, physicists, politicians, who have become popular in the aftermath and in the eyes of the world, those irradiated with life, the "Chernobylians".

Today with La dust qui marche..., we want to give body and life to several of these testimonies, not to underline the horror of Chernobyl, but to make you feel its daily life. The little things that feed a life, the particularities of each person, their cowardice, their violence, their courage, their beauty, their sharpness, their poetry... are more than enough to move people.


Created on November 23, 2001 at Prairiales (Epernon)

Un homme...

2003 / An ordinary man for four special women

Actors: Céline Caussimon, Virginie Emane,

Sandrine Righeschi, Claire Vidoni and Eric Cenat

Director: Stella Serfaty
Scenographic advice: Philippe Marioge
Lighting: Marie-Hélène Pinon
Costume: Charlotte Villermet
Poster: Magalie Harrant


This piece was written from around thirty testimonies collected by the writer Slimane Benaïssa during a residency at the Nîmes shelter for women in distress. Fatiha, Alice, Denise and Antoinette have all experienced a few deceptive moments of happiness before being confronted with the horrors of violence within a couple that capsizes when the child is announced. Faced with oppression, distrust, arrogance and lack of tenderness, these women "on the move" had the courage to say no: no to the unbearable, no to the degradation of their being in order to rediscover dignity and autonomy.



Created on November 13, 2003 at the Théâtre de la Tête Noire (Saran).

Salades d'amour

2005 / Salads of love

Actors: Claire Vidoni and Marc Wyseur

Acting, singing and staging: Claire Vidoni and Marc Wyseur
Arrangements and Piano: Jérôme Damien
Lighting: Marie-Hélène Pinon
Sound: Claude Rohac
Poster and communication: Blandine Legrand


Salades d'amour does not depict the romantic journey of a man and a woman, but of a dozen or twenty couples, driven by the same desire to meet, to live or to leave a love. Performed by two singing actors accompanied by a pianist who is both a conductor of their moods and a witness to their emotions, they remind us, in this encounter between music, theater and cinema, that love is decidedly eaten at all times. sauces.



Created on June 18, 2005.

Un fils de notre temps

2005 / A Son of Our Time

Actors: Claire Vidoni and Eric Cénat

Directed by: Bernard Sultan & Norbert Aboudarham
Adaptation: Norbert Aboudarham,

Eric Cenat & Bernard Sultan
Scenography and costumes: Charlotte Villermet
Lighting: Violaine Burgard
Sound universe and music: Guillaume Dutrieux
Builder/artist: Jean-Paul Dewynter
Costume design: Maryline Lafay
General Manager: Gilles Guerre
Poster: Julio Gallegos


At a time when the world is sliding inexorably into Nazi chaos, Odön von Horvàth writes: A Son of Our Time, the story of a candid man convinced that the world is going well and that it is enough to be in the right direction of walk to be right and triumph over adversity. His eyes meet one day that of a young girl in a carnival. The memory of this brief encounter triggers an awareness in the young man who believed he had found the meaning of life in the exaltation of war. Is he dreaming or is it really reality?


Creation: Théâtre Beaumarchais, November 4, 2005.

Les Varitions Huston

2009 / The Huston Variations

Director: Marc Wyseur
Arrangements and guitars: Rémi Jousselme
Costumes and scenography: Charlotte Villermet
Lights: Marie-Hélène Pinon
Soundtrack: Christophe Sechet


Nancy Huston: Her look at life, her point of view on the cause of women, her seriousness, her humor gave me material to build this show taken from "The Goldberg Variations", her first novel inspired by the work for Bach's harpsichord.
I therefore chose six voices among the thirty-one variations of Bach and the thirty-two characters imagined by Huston. Six monologues, six solitudes that speak to us of beauty, youth, sex, violence, love, regrets, helplessness, the desire to throw everything up in the air, in anger or humor , distress or determination.

To these texts, I very quickly associated the sound, both angry and caressing, of an acoustic guitar. The choice of this instrument imposed itself on me for what it has in common with the harpsichord: the sounds both soft and energetic brought by the plucking of the strings. I thought of this sentence from Debussy: “Your guitar looks like a harpsichord but an expressive harpsichord.”

From acoustic to electric, there was only one step that made me cross Dylan, the Doors and Lou Reed: what America left to Nancy Huston to whom exile brings a dimension so universal.

At home, in France, I found this rebellious, claiming universe in the songs of Claire Diterzi and Daniel Darc, in their vitality, their despair and their humor too.

In this music drunk with freedom, the words of Nancy Huston find their place, with this accuracy and this altruism that she knows so well how to offer us.




Creation on June 6, 2009 at the theater Les Bains Les Douches.

Des Rails...

2011 / Tracks...

Actors: Jacques Bondoux, Laura Segré and Nicolas Senty

Director: Eric Cénat
Artistic collaboration: Claire Vidoni
Scenography and costumes: Charlotte Villermet
Light design: Marie-Hélène Pinon
Sound design: Christophe Séchet


Immediate boarding in the first with Blaise Cendrars! Let's redo with him, in this winter of 1905, this initiatory journey from Moscow to Kharbin via the Siberian plains, Lake Baikal, Manchuria, the Gobi desert: 10,000 km of tracks traveled to the haunting rhythm of the bogies, where the poet takes the passenger in his dreamlike universe, full of reality, powerful and sensitive, light and dark, limpid and mysterious... And the crossing of the mirror is done... Time is accelerating, distance is abolished. We are today and it is Olivier Charron* who takes over. Memories flow from his memory, he who, at the controls of the Aérotrain, on an air cushion, was going fast, so fast... Just think! More than 400 km / h on a few kilometers of concrete tracks on the side of Gometz-la-Ville, Saran or Artenay. A poetic dive into these "Glorious Thirties" where the Year 2000 aroused all technological fantasies, symbolized all possibilities... But in the music of these two trains a derailment tinkles: derailment of the human, of History and of a certain idea of progress.


Created in November 2011 at the Théâtre de la Tête Noire - Saran

2014 / Operation Romeo...

Translation :Jaromir JanecekAndClaire Vidoni, Tiny Editions

Staging:Eric Cenat

Interpretation: Jacques Bondoux, Jaromir Janecek,

Thomas Silberstein, Claire Vidoni andMarc Wyseur

Scenography and costumes: Kristina Novotnà

Light creation:Vincent Mongourdin

Sound creation:Christophe Sechet

Michal, former director of “Czechoslovak Films”, has been downgraded and now works at the Archives. More and more often, he feels the need to isolate himself on the roof of his building, his “airport”… On this day, however, he celebrates the birthday of his wife Alena, in the company of their son Viktor, a student in medicine.


Behind the lightness of the party, the humor and good family relations, hides the permanent threat of State Security: Alena's father is, in fact, a dissident writer. The couple know they are being wiretapped, always watched, until the police ring their doorbell...


Everyone is then revealed little by little, until the masks are dropped, the characters are in apnea, on the edge of the precipice. They struggle in a closed environment, use humor so as not to sink, hide their game, gradually reveal themselves and finally reveal themselves in all their truth, as if their true faces were forever illuminated by the harsh light of a lamp. 'examination.

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