Fugato Labile for Camille Claudel

FUGATO LABILE FOR CAMILLE CLAUDEL was produced in Bucharest and in Brussels in 2017. My friend and wonderful actress Liana Ceterchi played the part of Camille.

Fugato Labile for Camille Claudel was a treat. See what some audience said when They talked about it.  Watch now the Vimeo of the whole play: click “watch trailer” at the top of this page.  “Fugato Labile for Camille Claudel” can be invited to be on your stage.  Contact us.

Fugato Labile for Camille Claudel was a world premiere (2014) written by Vermonter Georgette Garbès Putzel; it was first presented at THE OFF CENTER for the Dramatic Arts in Burlington  (294 North Winooski Avenue #116c  Burlington, VT 05401Transit: No. Winooski Avenue at Archibald Street)

Fugato Labile for Camille Claudel was presented  in English, then in French, back to back each evening.

Fugato Labile for Camille Claudel is a one act, one actress play composed, designed, choreographed and performed by Georgette Garbes Putzel with the participation of one movement performer, one musician Live, recorded voices, projection of Camille’s sculptures,  a visual by Gabe Albright, and the Core Team at TMM.

TMM thanks: Accordionist Michel Lajeunesse (who interpreted live his own creations written for the play), movement performer Felicia Plumley (on stage), visual creator of “final scene particles” by Gabe Albright, and the recorded voices of: Angelica McLennan (Camille’s mother), Bob Robbins (Minister of Fine Arts), Emmanuel Tissot (Pottecher), Henry Weinstock (Asselin), Jean marie Rabot (Camille’s father), Karen Kane (Maria, friend of Camille), Laura Roald (commentaries), Polly Connell (Madame Montavox), Roger Putzel ( Rodin and Docteur Truelle), Scott Thomson (Blot), Steven Pite (cousin Charles).
The author is using Camille Claudel’s own words for this play. The sister of famous playwright Paul Claudel, and lover & student of famous sculptor Rodin, young Camille’s sculptures soon surpassed her famous teacher’s. Born in a wealthy bourgeois family, she was joyful, truthful, dedicated to her art, indifferent to the games of high society: a free spirit with unacceptable lifestyle at the time and in her milieu. She was born a century too early. She was born happy and creative. She died lonely and miserable. Why? “Fugato Labile for Camille Claudel” is a true story of love, art and the challenges of being different. Music composed and interpreted Live by Vermont musicians: violin, tabla and accordion.”

Camille Claudel new Alphonse Daudet (Les lettres de mon moulin) and Debussy.  In the play she will thank Marcel Schwob for his book “The Book of Monelle“.  M. Schwob influenced a generations of great writers from Guillaume Apollinaire and Jorge Luis Borges to Roberto Bolaño, as well as Paul Valery, Alfred Jarry and the surrealist photographer Claude Cahun.  Marcel Schwob helped Camille sell her sculptures.

Camille Claudel had her last studio Quai Bourbon, Paris, from 1899 till 1913 when she was taken away to insane asylums, by her mother, her sister and her brother Paul Claudel, renown poet, dramatist and diplomat. “March 11, 1913: 2 maniacs enter my home, Quai Bourbon, grab me by the elbows, throw me out of the window of my studio”. Camille Claudel.

On March 11 of 1913, Camille Claudel was interned by her mother, her brother the famous Paul Claudel, and her sister at the insane asylum of Ville Evrard, near Paris. In 1914 (German troops entered Paris) she was sent to the Montdevergues asylum in South of France, where she spent the last 30 years of her life, from 1914 to her death in 1943. The author visited the two asylums, Ville Evrard and Montdevergues, in 2012 while writing the play: “Fugato Labile for Camille Claudel” to which you are invited in March 2014.

Words can hurt. At the museum Les Arcades at the Montdevergues asylum, one can read some of these words written on the tiles of the floor of a little patio. (TMM offers you an English version of the tiles). When preparing for the writing of “Fugato Labile for Camille Claudel” I visited the museum and, with their permission, took some pictures of the tiles.  It is about engaging our empathy towards the inmate’s situation and provoke thought about individual differences and exclusion.  The tiles have a consciousness raising role.  It is about the demystification of  psychiatry in general.  We are lead to thinking more deeply about it.  The museum allows the hospital to be a place for care, for life and for creativity.  It opens up for us new reflections on how society perceives madness and mentally ill people.  It exposes how healthcare for the mentally ill has evolved.

Séraphine (You have seen the movie), Camille and 40 to 50 thousand other famine victims died in France under the German occupation during WWII. Both artists, Séraphine and Camille never met.  Both exploited.  Both abandoned.  Séraphine (Séraphine de Senlis) died of hunger (1942) and possibly, like Camille, of cold. Camille Claudel died in 1943.

Miserable. February 1927. Camille writes to her mother, from Ville Evrard asylum: << My dear mother, I am late writing to you because it has been so cold, my legs don’t support me, I can’t go to the place where everybody is to write and where there is a pitiful fire, it’s bedlam; I have to stay in my room where it is so glacially cold that I have frostbite, my fingers tremble, I cannot hold the pen. I have not warmed up all winter; I am frozen to my bones, cut in half by the cold. One of my friends, a poor teacher from Lycée Fénelon who got stranded here, was found frozen to death in her bed. It is horrible.  You can’t imagine the cold of Montdevergues. And it goes on, and on and on, 7 months at a time. >>

Betrayed. 1915. Camille to her dear beloved little brother Paul, from Montdevergues asylum: << Do you think it’s fun for me to spend months, years like this, without any news, without any hope! Where does such ferocity come from? How can they make you turn away? >>

But spirited. April 1932. Camille to Paul: << I received them clappity clap, with my rheumatism on my knee, an old battered overcoat, an old hat from Samaritaine that covered my nose. Well, it was me; that’s how they will remember me the coming century>>

A genius born at the wrong place, wrong time, wrong family. 1932. Eugene Blot to Camille: <<Your sculpture, the supplicant, is the manifesto for modern sculpture.  You were finally free from Rodin’s influence, as grand in the inspiration as in the craft. With you we were going to quit the world of false appearances for the one of the thought >>