Orgia, lesson depths

Strange Discovered In Belfort. Descent in the depths of the theatre.
In the abyssals zone, in these places which nour bring back to the origin, or more exactly its image. Here the word is weighed, thought: each word resounds of a load without human limiting. They are the words Pier Paolo Pasolini, Orgia, the first of the six parts which he conceded with the theatre. The translation is new (of the director himself, in partnership with Caroline Michel and Eugene Durif). In fact the excess speaks in each one of its words. Jean Lambert-wild seizes some as by effraction. Far from the rebellious theatre or militant, we are with more close to the beginning. In these zones where humanity would come to be tested with its first sentences. Scenario simplissime: a man and a woman who say, very quickly, in a perfect economy, all the evil which they " can " be made. A oratorio to say, to tell us all the forms, turns and turnings of the desire - it is not known besides if they go it, if they prohibit it. What they live is in extreme cases, no matter what it arrives at the limit. The proposal of scene brings into play this work of the limit by confronting the actors with themselves, by the mediation of an apparatus - as an auxiliary which makes it possible to be found, in spite of or through the turnings. Here the machine collects the states and the feelings which the actors live while playing. By a system of sensors directly installed on the skin of the actors, " the machinery " records and translates what they live known scene. This translation takes the form (virtual, we are with the theatre - and oldest, paradoxically) of primitive organizations which one finds at the ocean floor. Of everywhere, in this fray of ritualized words, the theatre becomes the strange dialogue of beings which cannot speak each other. But the theatre comes, at this time precise, to still say.

Bruno Tackels
04-06/2001