VIELLEICHT

de l’allemand : peut-être / très léger
Création septembre 2013 au Théâtre de Haute-Pierre, Strasbourg
Solo // Durée : 50 mn

Un être-pantin, un pantin vivant.

Allégement de toute décision, de tout état d’âme, de toute responsabilité ; ou figure de conditionnement, entravée, emmêlée…

Cette femme qui se débat, tantôt dompteuse, tantôt domptée, nous transporte à l’endroit même de cette contradiction. Téméraire et obstinée, elle explore ces densités changeantes.

Rêverie sur la disparition de nos pesanteurs, cette pièce est une quête tendue vers la jubilation de cette danse à l’intériorité transparente, sans affect, et que Kleist dans sa nouvelle « Sur le théâtre de marionnettes » nomme « grâce ».

Instants si peu accessibles à nous autres – êtres réfléchis, responsables, volontaires – et que nous ne cessons pourtant de rechercher.

I hate the spring

Concert-performance and tribute to Fred Dargaud’s comic Le Petit Cirque (‘The Little Circus’)
Created in April 2015 at La Ferme du Buisson, Scène Nationale / Pulp Festival // Performance for indoors, or outdoors at night // Quintet // Duration: 1 h 10

A three-way game played out between music, visual projection and performance, J’ai horreur du Printemps (‘I Hate the Spring’) is a tribute to Fred Dargaud’s timeless masterpiece Le Petit Cirque.

 On stage are a performer and four musicians (piano, double bass, drums/percussion, saxophone). Behind them is a canvas, stretched between two electricity poles, onto which short scenes from Fred’s Petit Cirque are projected. Featuring the adventures of the gruff fairground worker Leopold, his wife Carmen (sentenced to pull the trailer) and their son, they show the family crossing arid landscapes and dried seabeds, journeying through a surreal world filled with ravens, trapeze-artist-spies, and groups of migratory tightrope walkers.

 Accompanied for I Hate the Spring by an unusual orchestra of four peerless musicians, the family journey through this strange country. Between bursts of sound and moments of silence and solitude, they can do only one thing: continue on.

 Personifying the character of Carmen, Mélissa Von Vépy draws this ensemble into a fantastical world – a dream in three dimensions. From her aerial perspective she upsets the order of things, using her art of weightlessness, her gift of flight, to break apart the vignettes. The result is a succession of surrealist paintings that tell of the harsh and poetic lives of those who must walk from one city to another to set the fairground turning.

 (Text adapted from the programme of the Am Stram Gram theatre in Geneva.)

Into the sky’s jaw

Creation March 2009 at Theatre Jean Lurçat, Scène Nationale d’Aubusson // Duo // Duration: 50 min

A man and a woman drift on a white background, manifesting the states of an emotional journey.

 From the sense of emptiness that sometimes besets us, to the life-saving dives we make into worlds of fantasy – Into the Sky’s Jaw captures an internal dizziness.

Hook

Creation May 2007 at Le Carré in Saint-Médard-en-Jalles // Solo // Duration: 20 min

 A woman stands there.

 At her back, something tightens; a sliding metallic sound breaks the air. Little by little, a giant industrial hook rises upright.

 Locked in an embrace amid masses of scrap metal, an unusual dance emerges, both duet and duel. In the end, something has to give.

 As the ground itself begins to recede, the stakes rise higher…

I look up, I look down…

Creation October 2005 at La Scène nationale de Sète et du Bassin de Thau // Duo // Duration: 50 min

 Two girls are lost, clinging to one another at the edge of a void – a literal void.

 Hanging above, peering over the edge of a cliff, or resting at the foot of it, they are the subtitles of the physical tableaux that make up I look up, I look down...

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Troubled Times

Chloé Moglia – Mélissa Von Vépy

 Creation October 2003 // Espace Marcel Carné, St-Michel-sur-Orge // Trio // Duration: 45 min

 ‘From way down below came gusts of music… carried by the wind, I guess… Tunes… like a busted merry-go-round in the night… … It was like magic… an entirely different world… fantastic! Like a crazy picture… All of a sudden I felt they’d never catch me again… that I’d turned into a memory that no one would ever recognize… that I had nothing more to fear, that nobody’d ever find me again… I treated myself to a ride on the merry-go-round, I held out my change. I took three whole rides … I was dizzy… I wanted to take another turn.’

 Louis-Ferdinand Céline, Death on Credit (trans. Ralph Manheim)

A particular place in the belly

Chloé Moglia – Mélissa Von Vépy

 Creation February 2001 at Le Prato, Théâtre International de Quartier, Lille // Duo // Duration: 50 min

 Two trapeze artists, like the two poles of a single plane of existence that must be crossed, where there is a constant negotiation between what is above and what is below, where there is an exaltation of the heights, and the ground itself poses a risk.

 Two women, two bodies, two trapeze artists; one perched naively in the heights, dangerously ignorant of the ground, the other refusing to quit it.

 It is the story of this negotiation with the void.

 Pascale Henry