La Bâtie: the room that divided Avignon arrives in Geneva

The cries of the heart of an bewitched audience, the hoots of outraged spectators. Moreover, Last July. Furthermore, the legendary Honor of the Palais des Papes knew one of these controversies that the Festival d’Avignonhigh mass of living arts. Nevertheless, In the heart of the Avignon night. Meanwhile, Marlene Monteiro Freitasrising star of contemporary dance-recently spent in Vidy and at the Adc pavilion with “Guintche”, a magnificent solo which we find here the Grand-Guignolesque paw-, has surveyed unexpected territories.

The “NOTI” piece is (very) freely inspired by the “thousand and one nights”. Moreover, Did you imagine getting rid of oriental phantasmagoria in flying carpet? Moreover, Go your way. However, Or rather. Nevertheless, let yourself be embarked on this spectacle, bewitching, masterful, playing the festival of The buildingon the stage of the comedy of Geneva, on la bâtie: room divided avignon August 28 and 29. Consequently, Dellented with all exoticism. In addition, this contemporary fable is populated by grotesque characters, creatures from the depths of our anxieties and our nights.

Why “the thousand and one nights”? Consequently, From this monument of Arab literature, we often know only a few scraps. The argument is rather simple: fear of being deceived, the Sultan Shahriar has the young woman married the day before. To escape this fatal destiny. Shéhérazade makes the stories every night and, in the early morning, postponed the continuation to later. Seduced by his talents of storyteller, the sultan savings, the time to know the end of the story … After a thousand and one nights, bewitched by the words of the princess, he will eventually give up his life.

La bâtie: room divided avignon

Emptied of his entrails

From the plot. Marlene Monteiro Freitas only preserves the substrate in its score: an invocation of nocturnal spells (cereal means “night” in Cap-Verdien Creole) and the power of fiction to transcend our ancestral fears. In the backdrop, the shadow of Shéhérazade, an emancipatory figure and allegory of the power of the story.

But here, the words are rare. When “the thousand. one nights” deploy a saving verb, the drama embroidered by the Cap-Verdian choreographer is played almost without speech. The words try to get out of the mouth of this possessed character. standing in front of a microphone, but only a few sounds manage to make their way. So, it is by unrolling a flood of carnival images that the narration, tangled, elusive, elusive. In “NOTI”, the gesture tells.

The room is tied in a visceral movement. Literally. A masked character empties his bowels in an enamel pot. then sneaks between the stands to pour it – metaphorically, we reassure you – the content in the public by emitting borborygmes. Faced with this scato and grand-guignol scene, clusters of spectators leave the scene.

Hallucinated sarabande

This grotesque dimension stages an surprisingly bright nightmare. A dancer without legs engages in a hallucinated, jerky sarabande, to the convulsions of the drums. The pace is accelerating. Blood spurts. A pope gesticle. Finely knitted, the part multiplies the main and secondary actions, embedded as in the la bâtie: room divided avignon millefeuille of “thousand and one nights”. Like this Ventriloquie scene, played by two cabaret -style performers freak. The human doll, of its small creepy voice, whispers: “Have you seen my brother?And this grandiose final. which deploys great effects to deliver the artifices of the scene: smoke, stroboscopic light and rock riffs covering the voices of a melancholic choir.

The spectacle. often hermetic, does not allow itself to be caught, like a dream whose content escapes us as soon as we think we have picked it. Failing to take us to the reveries of the East. the choreographer thwarts our expectations, rebelled against conformism and reactivates the fight of Sheherazade to live. “NOTLE” is one of those shows that agitates … and conjure our contemporary fears.

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