The actress Adèle Haenel reacted strongly when questioned about her attraction to radical art and politics. She believes that the term “radical” is often used to discredit protest discourse. Despite being well-known for her role in the 2019 film “Portrait of a Lady on Fire,” Haenel has chosen to drastically change her life and career. In recent years, she has become a prominent figure in the #MeToo movement in France. In a letter published in Télérama, Haenel explained her absence from the film industry, stating that she wanted to use her retirement as a way to denounce the industry’s complacency towards sexual aggressors and its collaboration with the harmful social order.
Haenel sees herself as having a political understanding of the world, and her actions align with her beliefs. She prefers the term “coherent” rather than “radical” because she feels that calling someone radical is a way to dismiss their viewpoints as hysterical or angry. During our conversation, Haenel emphasized the importance of making herself clear and often took notes to ensure she addressed all her points.
We spoke at a house on the PS21: Performance Spaces for the 21st Century campus in Chatham, N.Y., where Haenel was performing in Gisèle Vienne’s show “L’Étang.” The show, which will also be performed in New York City as part of the Dance Reflections festival, can be considered radical by American theatrical standards. It is based on a play by Robert Walser and features slow motion movements and escalating tension, similar to Vienne’s previous work, “Crowd.”
In “L’Étang,” Haenel portrays multiple roles, including an adolescent named Fritz. The performance requires precise physical and emotional execution. Haenel described the communication she shares with her fellow performer, Julie Shanahan, and how they understand each other’s movements without needing to discuss it extensively.
Vienne believes that effort plays a crucial role in her artistic process. She combines choreography, interpretation, sociology, philosophy, and politics to create pieces that convey meaning. Haenel shares Vienne’s commitment and dedication to blending artistic goals with politics and life, which is why they work so well together.
Their collaboration began in 2018 when they both served on the admissions committee for the National Theater of Brittany’s acting school. Haenel participated in a workshop led by Vienne and became intrigued by the concept of developing slow motion as a new sense. This exploration led to their first official collaboration, “L’Étang,” which premiered in 2021 after a delay due to Covid-19.
Throughout our conversation, Haenel frequently referred to the concept of de-hierarchization. In “L’Étang,” they challenged the traditional hierarchy of text in theater by using various elements like movement, music, sound, and lighting to convey meaning. The show also disrupts the usual connection between body language and spoken words, often distorting voices electronically. Haenel explained how this friction between text and subtext creates intense scenes that explore dissociation and violence.
Haenel and Vienne’s collaboration has flourished since 2018. They recently premiered a new show called “Extra Life” at the Ruhrtriennale festival in Germany and are involved in public readings of Monique Wittig’s work. Haenel described their involvement with Wittig as a political act of active memory creation. She hopes to reintroduce Wittig’s work to English-speaking audiences and contribute to her renewed study and appreciation.
For Haenel, engaging in thoughtful processes and maintaining a vibrant relationship with the world is essential, rather than adhering to antiquated beliefs. She values the liveliness and openness of her perspective rather than measuring its truth. Haenel’s deep exploration with Vienne and her advocacy for Wittig’s work are interconnected parts of her artistic and political journey.