Usine Hollander / Choisy-le-Roi
Direction and Choreography: Roser Montlló Guberna and Brigitte Seth
Text: Roser Montlló Guberna and Brigitte Seth
Music: Jean-Pierre Drouet, Geoffroy Tamisier, Banda Ionica
Assistant Director: Dominique Brunet
Lights : Dominique Mabileau
Sound design: Antisten
Set Design and Costumes: Clédat & Petitpierre
Musicians: Jean-Pierre Drouet (percussion), Geoffroy Tamisier (trumpet)
Actors and Dancers: Dery Fazio, Rodolphe Fouillot, Roser Montlló Guberna, Jordi Ros, Brigitte Seth, Jean-Baptiste Veyret-Logerias
Costumes made by: Anne Tesson
Stage Manager: Stéphane Bottard
Production, Dissemination: Françoise Empio
Communication, Dissemination: Marie Mallaret Doukhan
"Brigitte Seth and Roser Montlló Guberna use this story to revive their fetish theme of normality and marginality, of the brutal choice of being oneself in a society which is always tightening the screws. They have written a piece like a frenzied blast, sick and punctured with anxiety and desire. Just as they did in Rosaura (2004), a sumptuous feminine pas de deux with daggers drawn, Brigitte Seth and Roser Montlló Guberna give their audience the shivers. "
Le Monde, Rosita Boisseau
There exists a state of mind which is neither healthy nor sick; situated elsewhere, this is the state of mind of poets, artists and revolutionaries – and also of those who will not or cannot take part in the reality of this world – all those for whom the art of living is not obvious, who don’t understand the manual on “How to Live”, who do not have the key, who are waiting for a miracle - for their “real life” to begin one day…
Directing and choreographing a state of mind might seem to be a complex affair… but as soon as the dancers set foot on stage, the body takes over the subject, becoming the subject itself. Is it because the stage is a mirror magnifying our unconscious inclinations and skewed quirks that the incarnation is instantaneous? The flaws, the fringes, the folds, the wounds, everything that creaks, cracks and catches – this is the domain of choice for actors, dancers and musicians.
Every society, when setting out its logic, creates margins which are populated to varying degrees depending on the place and form taken by so-called rational thoughts. Depending on the era, it is more or less easy to belong to one or other of the two camps. But whichever camp it is, each appears twisted and incomprehensible to the other.
The genre oblique is everyone’s genre.
Hidden in the subtext is Juana La Loca, the well-known, disturbing and disturbed character of 16th century Spain, daughter of the Catholic Monarchs, artist and lover and such a misfit in her time that her husband, then her father and eventually her son locked her up under the pretext of madness and reigned in her place!
Without attempting to portray her, the dancers/actors and musicians draw their inspiration from her to pay tribute – between popular music and role-playing – to the outsiders, the lost and the eccentric, those who, because they can’t be normalised, are shunned and cast out to the margins of the rational world and power – the watchers and free thinkers gesticulating like inventors. Through the woven fabric of diversity, the oblique people make their voices heard - voices which are essential for us all.
Je me suis trouvée là
Dans ce corps inconnu
Pour Dieu sait quel gala
Je ne l'ai jamais su
Dans ce monde étranger
Ange au supermarché
Il m'a fallu danser
La java des terriens
Sans en connaître rien
J'fais un genre
J'fais un genre humain
Genre Humain by Brigitte Fontaine
Will there be no end to this craving she has for fantastic apparitions? And even if something did actually happen, and gradually everything changed – and seemed unbelievable – then what would happen? She would clash with society straight away and she’d be locked up.
…The spell would be broken.
Everything would become normal, peaceful, mundane.
The Man of Jasmine by Unica Zürn
Espace 1789, Saint-Ouen, Scène Nationale 61 d'Alençon, Pôle Sud, Registered Theatre for Dance and Music (Strasbourg), Mercat de les Flors of Barcelona, Théâtre de la Ville de Paris, La Mégisserie de Saint-Junien, ARCADI (Action régionale pour la création artistique et la diffusion en Ile-de-France).
With the support of the Conseil General of Seine-Saint-Denis, the ADAMI, CulturesFrance-Ministry of Foreign Affairs.