Anne Monfort - day-for-night

Anne Monfort | Director & artistic director


Giving the francophone specificities of Anne Monfort's work, Morgane Poulette  (english version) & How far (bilingual version in french and english) are currently the plays proposed for non francophone international touring. Do not hesitate to contact us for any further information. 


Anne Monfort created the theater company day-for-night, located at Besançon, in 2000.

She has recently adapted on stage texts of Mathieu Riboulet, Lydie Salvayre, Robespierre, Sophie Wahnich. She works from multiple materials such as adaptations of novels and stage writings, and searches for forms that unite fiction and documentary, verbal and pictorial.

In 2022, she created Nostalgie 2175 by Anja Hilling, a play supported and hosted by the CDN Besançon, Théâtre de la Cité - CDN de Toulouse, Scènes du Jura, L'ARC scène nationale Le Creusot, L'Espace des Arts scène nationale Chalon-sur-Saône and Théâtre National de Strasbourg.

During the 2023 - 2024 season, How far will be created from a text by Laure Bachelier-Mazon (winner of the Convergence Plateau festival), with production and support from GRRRANIT Scène nationale - Belfort (creation on 12 January 2024), CDN Besançon (February 2024), Le Colombier - Bagnolet (February 2024), Théâtre Public de Montreuil - CDN, Théâtre Paris-Villette Paris, Institut français de Paris, CITF. The story will also be the subject of several specific creation projects in cooperation with the Compagnie Feugham - La'akam Cameroun, the Festival Univers des mots Guinée and Aroja Royal Theatre Nigeria from October 2023 to February 2024.

For the 2024 - 2025 season, Anne Monfort is also preparing a forthcoming production based on the literary works La Migration des coeurs by Maryse Condé and Les Hauts de Hurlevent by Emily Brontë.


Anne Monfort's creations revolve around the question of point of view, devices that involve narrations alternating between documentary and fiction, and an acting between play and non-play. The actor's body must be a projection surface for the foregrounds, backgrounds, front and back zooms that the viewer's brain constantly makes. She has worked on plastic forms, small forms, and likes to confront several types of textual writing - poetic, fictional and documentary - and scenic writing, working on images and musicality according to a system of editing in the cinematographic sense of the term.


© Brigitte Chartreux