She has a passport, legal status and freedom of movement. He cannot leave the Palestinian territories where he was born. They love each other, and their story is set against a geopolitical reality that inevitably shapes it. On stage, various storylines unfold: that of their lives, of course, made up of comings and goings, checkpoints and frantic text messages, but also that of the playwright herself, who reveals her innermost thoughts before our very eyes, in a dizzying mise en abîme of her own creative process. Then appears the enigmatic figure of the grandmother, part representative of collective memory, part mischievous confidante.
Following Chaos (2021) and Cœurs battants (2022), Valentine Sergo presents Tatrïz, the third and final instalment of her Cyclone trilogy. Situated at the crossroads of the personal and the political, she draws on her own experience and her numerous journeys to Palestine to give voice to those who live there. Because drawing on her own lived experience seemed the most honest way to tell the story of this part of the world, far removed from clichés and preconceptions. Sentence by sentence, one question ultimately rises to the surface: How does a geopolitical context shape emotional and romantic relationships, not only in the present moment but also across several generations?