forest
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In the updated 2010 play, the director takes the viewer into a misty forest, the site of crime scenes with photogenic morbidity. A sound and light show where the decor plays the leading role.
This Is How You Will Disappear… This is how you will disappear. And if we had to take this programmatic title literally? And if Gisele Vienne had the ambition since her beginnings as a director-choreographer-scenographer to kill theatre, dance, to make them disappear, to liquidate them in the scenographic act? This is the question that arises in front of this piece from 2010, updated today.
To achieve this, Gisèle Vienne plants what should still be called the “decor”: a forest, at night. This is the place and the time of the crime, there will be several of them, and first between the extras – we can no longer speak here of actors or dancers as they are manipulated, stopped in their gestures; we will come back to this immobilization. So, three extras: a ponytail gymnast, arched Nadia Comaneci and leotard (Nuria Guiu Sagarra), a rock star with a Hedi Slimane silhouette in a sequined jacket (Jonathan Schatz) and a white tracksuit coach (Jonathan Capdevielle), from which Gisèle Vienne dissociates, the first attack on their integrity, the body of the word heard – it is regarding suicide, rape, murder, writer Dennis Cooper’s literary obsessions – for
