Atmosphere of austerity and fantasy,
Burst of sequins and nudity of the stage,
Weight of a situation and required airiness,
Extraverted and intimate portrayal in flagrant opposition,
Fear and entertainment.
We explore the aesthetic of the costumes of the cabaret (fishnets, sequins, feathers, and corsets), initially designed for dancers with similar appearances, calibrated, selectioned based on their size, their weight, and their capacity for physical endurance. This same aesthetic worn and lived by dancers from diverse horizons creates a strange style of dance that allows us to see in its ranks the individuality of each person, as though these details were spoken, shouted. This gap makes us aware of the aesthetic, its origin, its reason for being. The scene reels between the anticipated performance--flashy--and unexpected intimacy. Luminous endeavors glorify the gleam of the show, the shiny gloss coating that cracks when, as if emanating from nearby watchtowers, they expose a flaw in the dancer. Reviewed and Corrected has several facets: the mask and behind the mask, the beautiful and the ugly, the « all is well » and « everything is falling apart», the harmony and disharmony of the world.
The cabaret entertains us and makes us confront what it is that drives us to seek the escape.
Fear of mistakes becomes a fantasy here, violence becomes a laugh, terror a magic show, empty anxiety a tightrope walker's show, illness a joke, untameable sexual obsession a dance, the lack of love a song. At the moment of transformation, we look Medusa in the eye. And the magic of the cabaret is that we find this all amusing.