"Whispers"
TEATRO NACIONAL D. MARIA II - Sala Estúdio
15 and 16 May at 9.15pm (Friday and Saturday) | 17 May at 4.15pm (Sunday)
Portuguese Premiere
Concept, choreography and performer: Nicole Mossoux Direction: Patrick Bonté, Nicole Mossoux Original live music: Mikha Wajnrych (sound objects), Thomas Turine (electroacoustic composition) Costumes: Colette Huchard Set designer: Johan Daenen Lighting design: Patrick Bonté Technical direction: David Jans Make up: Jean-Pierre Finotto Photography: Mikha Wajnrych Supports: Théâtre de la Balsamine (Brussels), Théâtre Le Passage (Fécamp) Technique: Objects, dance and sound For audiences over: +12 Language: Without words Running time: Approx. 60 min. Tickets online
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Birth of Phantoms
On stage, a lone woman. Alone or perhaps not. It appears that the space is inhabited. An expression of furtive presences, muffled sounds and finally phantom-like figures that appear suddenly here and there, occupying the space more and more, whispering in our ear, rising up into the image like the guardians of a secret. Are they not the lost souls that endlessly wander, disturbing our present with their irreparable past?
A woman is there, a woman who cannot tell what is speaking in her; if it’s her own experience or that of her ancestors. She tries to decipher the murmuring that so furiously resembles a conspiracy against the living. How to escape the chain of generations - and by which exit? How to live a dawn not marred by the night?
Whispers, a clinking of souls, a rumble of recollections and the ancestors who stumble onto the scene.
In previous performances Nicole Mossoux has already explored the different forms of interaction possible with marionettes, shadows and object manipulation. This time she is accompanied by a sound designer who generates live sounds that echo her haunted movements.
The stage takes the form of a large white trapezoid, with a piece of tulle at the rear that partially camouflages the sound artist’s space.
In the centre stands a structure that frames a figure straight out of one of Vermeer’s paintings, a figure who endlessly moves away and comes back to the same spot, creating animated silhouettes with her own body: impatient ectoplasms, spindly, inopportune spectres that suddenly appear and harbour suspicious intentions. The live sounds give these apparitions a paradoxical quality especially in those moments when they manage to efface the living creator who produced them.
Birth of Phantoms
On stage, a lone woman. Alone or perhaps not. It appears that the space is inhabited. An expression of furtive presences, muffled sounds and finally phantom-like figures that appear suddenly here and there, occupying the space more and more, whispering in our ear, rising up into the image like the guardians of a secret. Are they not the lost souls that endlessly wander, disturbing our present with their irreparable past?
A woman is there, a woman who cannot tell what is speaking in her; if it’s her own experience or that of her ancestors. She tries to decipher the murmuring that so furiously resembles a conspiracy against the living. How to escape the chain of generations - and by which exit? How to live a dawn not marred by the night?
Whispers, a clinking of souls, a rumble of recollections and the ancestors who stumble onto the scene.
In previous performances Nicole Mossoux has already explored the different forms of interaction possible with marionettes, shadows and object manipulation. This time she is accompanied by a sound designer who generates live sounds that echo her haunted movements.
The stage takes the form of a large white trapezoid, with a piece of tulle at the rear that partially camouflages the sound artist’s space.
In the centre stands a structure that frames a figure straight out of one of Vermeer’s paintings, a figure who endlessly moves away and comes back to the same spot, creating animated silhouettes with her own body: impatient ectoplasms, spindly, inopportune spectres that suddenly appear and harbour suspicious intentions. The live sounds give these apparitions a paradoxical quality especially in those moments when they manage to efface the living creator who produced them.
%2BFIMFA%C2%A9Mikha%2BWajnrych.jpg.jpg) |
%2BFIMFA%C2%A9Mikha%2BWajnrych.jpg.jpg) |
BIO
Since meeting in 1985, Nicole Mossoux and Patrick Bonté have created performances at the intersection between dance and theatre.
The diversity of research they have conducted acts as a mirror for what is strangely troubling in us, for our obscure fantasies while at the same time questions the incoherencies that exist in our relationship with the world.
The duo they form harbours that special force that allows them to endure, with each in turn initiating a project while the other accompanies and fortifies the process. They also surround themselves with performers who are capable of proposing gestural material that nourishes the composition of the performances, as well as musicians and set and costume designers with whom the realisation of the work is inextricably linked.
Through the years the performances of the Company have been presented in many different places throughout the world.
In FIMFA Nicole presented the solos "Twin Houses" in 2009 and "Kefar Nahum" in 2013, considered one of the best shows of the year by João Carneiro in the weekly Expresso.
The diversity of research they have conducted acts as a mirror for what is strangely troubling in us, for our obscure fantasies while at the same time questions the incoherencies that exist in our relationship with the world.
The duo they form harbours that special force that allows them to endure, with each in turn initiating a project while the other accompanies and fortifies the process. They also surround themselves with performers who are capable of proposing gestural material that nourishes the composition of the performances, as well as musicians and set and costume designers with whom the realisation of the work is inextricably linked.
Through the years the performances of the Company have been presented in many different places throughout the world.
In FIMFA Nicole presented the solos "Twin Houses" in 2009 and "Kefar Nahum" in 2013, considered one of the best shows of the year by João Carneiro in the weekly Expresso.
