The leading figure of Congolese drama scene meets the late Sony Labou Tansi, a monument of literature in the two Congos. Pain and hope. Rebellion and torture. It’s sharp, it’s hot, sometimes inaudible.

Erected in the centre of the set around/on which the audience takes place, a fetishist construction made of everything and anything stands for a mausoleum, dressing room, make-up room and decor. The sacred made desacralised.

One of Dieudonné Niangouna's preparatory sketches
One of Dieudonné Niangouna’s preparatory sketches

This hunt for verticality on wheels (which seems very close to the one seen the same week with the Blitz Theatre Group) is that of a self, which can barely sit together and doesn’t know what it’s made of anymore. Its only hope lays in Antoine, a fallen prince locked up in a cell following a failed coup d’état. A plastic dummy in a pale skin is all that’s left of him.

Diariétou Keita in Antoine m'a vendu son destin/Sony chez les chiens by Dieudonné Niangouna
Diariétou Keita in Antoine m’a vendu son destin/Sony chez les chiens by Dieudonné Niangouna

As always with Dieudonné Niangouna, one reads, sings and dances. Diariétou Keita the totemic woman, the castrating mother, dog, icon, plays all the roles cunningly and powerfully. Her dance, rather than an invitation to leap up, is more of a call for introspection.


Antoine m’a vendu son destin/ Sony chez les chiens
Words Dieudonné Niangouna and Sony Labou Tansi
With Dieudonné Niangouna and Diariétou Keita
In Théâtre National de la Colline until March 18th 2017