“She leaves him, he kills her”, thus one could sum up Carmen, the work of Georges Bizet. Because if the hits of this world-famous opera tell of love, it is played shoulder to shoulder with death. Can this duality correspond to a contemporary reality? In her adaptation of Carmen, Jeanne Desoubeaux sets her scene outside. Because it is here, in the public space, as a nod to the feminist movement of gluers, that the debate must take place.
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Bizet’s Carmen, the opera of a feminicide
