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  by Emma Guttridge  

by Alexandre Berquin, Alexandra Boursier, Léa-Luz Garcia-Chatillon  

by Laura Kerharo, Mathilde Klimek, Luce Viot  

"We have chosen light as a crucial element for an abstract scenography. Our main goal was to translate and express emotions and feelings. The aim was to cause tensions and breaks as well as maintaining stability between the different scenes spotted by singular atmospheres in the libretto. Light suggests a particular atmosphere for each scene. A singular poetry set up through different conceptions pervades the scenographic conduct: from rising to light vibrations and quivers that express a storm, sudden appearances of fluent, voluptuous and colored shapes that mix to give a spring weather, mirrors that send back glows and distortions for an unhealthy or degrading atmosphere ending in mirrors lowering and light rising as it was at the beginning of the scene.

We were not interested in a real/figurative depiction of the place where the characters move. We wanted to rewrite the rule of operatic scenography with an empty stage and let the light create space."

  par Esther Christensen, Sonia Das Neves, Morgane Cam  

"The goal of Samson’s story is mainly theological: moving away from God makes oppression appear whereas being close to God brings freedom. Strangely, God is partly responsible for the conflict between the Hebrews and the Philistines.
Today, wars of religion have devastating effects ; the topic of the opera has yet to be proved.

Improper seduction ? From attraction to disgust ? Sex and the Woman appear unhealthy ; soon, Samson is trapped."

by Juliette Verduzier, Etienne Maisonnial, Elisa Rey  

by Mathilde Romand, Laurène Mas, Antoine Sage  

"Topography of the set represents overlays of stratas : curves, coated with various shades of grey concrete are drawn at random along and around a turning stage. Each level leads to the sommet where the throne of Dagon is set ; this classical two piers architecture of pure white colour looks sanitized. On the lower level, a street leads to a public square where traffic and struggle occurs. Two huge flat buildings with carved windows sunlight penetrating overhang the street.
The back of the set becomes the front during act 2 when Dalila has decided to seduce and trick Samson.
The audience responds to the changing atmosphere as well as time ; at dawn, the audience witnesses Dalila’s trickery.
The same strange and disturbing trouble comes out of Samson et Dalila, the spirituality of the topic reminds of earlier oratorios.

This biblical opera forces us to be constantly disturbed by this love story taking against a background of cultural hostilities between the Hebrews and the Philistines. Sensuality is connected with Dalila. Religion and seduction is widespread all over the opera. The set defines the power relationship between both communities.

This relationship is pictured by different heights according to the position of the community. Through the contemporary aspect of the set lies the political background of the story."

by Lou Denis-Motte, Elena Gaudin, Julie Aguila  

"This love story between both characters seems to justify a conflict between two communities. Samson, like Dalila, are spokespeople of two warring parties.

This conflict is timeless and refers to religion wars and nowadays conflicts and more precisely against Daesh, the israeli-palestinian conflict, the city of Aleppo…

The conflict is situated in a contemporary context and thereby suggesting that the audience faces the reality can see through the media. We have maintained neutrality in the setting of the conflict, and tried to avoid a manichean approach, knowing both communities are guilty of the similar war atrocities."

by Titouan Le Bourvellec, Salomé Gardon, Kenza Benkhicham  

"Our scenography refers to the power games between the Philistines and the Hebrews. Power which is their common target gives rhythm to the text. Our aim is to reveal their personalities. Appeal between Samson and Dalila is apparent through vice/defect. Dalila’s seduction is full of handling, lust, sensuality and enchantment such that Samson becomes trapped. The mountain helps to put power games between the Hebrews and the Philistines on stage. It is reminiscent of the countryside of Gaza and Palestine. The Hebrews always try to climb higher and higher as the Philistines dominate them.
Sets of lights set up contrasts as well as different atmospheres that emphasize the conflict between the communities. Ochre lighting represents the Philistines whereas the Hebrews are suggested with a mineral, dark and cold atmosphere."   

by Violette Ruppin