En cette période instable et incertaine pour les arts vivants, nous avons besoin de vous. Sans vous, ce projet ne peut avoir lieu. Grâce à votre soutien et à vos dons, de quelques montants qu'ils soient, nous pourrons mener à bien ce premier projet de création de notre compagnie. N’hésitez pas à parler de nous autour de vous, dans vos réseaux, car c'est également une belle manière de nous accompagner. Si vous êtes arrivés jusqu'à ces mots, nous vous remercions pour le temps que vous avez dédié à la découverte de notre projet. MERCI
Soutenir “EN VRAC” est un moyen de valoriser et soutenir la jeune création chorégraphique contemporaine.
Soutenir « EN VRAC » permettra à la compagnie de bien rémunérer toute l'équipe engagée autour de la compagnie, artistes et techniciens, qui travaillent bénévolement pour la réussite de ce projet.
Soutenir « EN VRAC » permettra aux artistes de créer ce spectacle dans de bonnes conditions et d'aller au bout de ses engagements (scénographie, costumes, musique, lumière, création vidéo).
Soutenir « EN VRAC » permettra aux artistes de mettre en avant leur spectacle (affiches, site internet, cartes postales et flyers)
Soutenir “EN VRAC” permet de soutenir la scène artistique locale.
Soutenir “EN VRAC” permet d’accompagner les temps d’écriture, de recherche, de construction et de création d’un projet aux démarches artistiques multiformes.
Soutenir “EN VRAC” permet d’offrir aux artistes de la compagnie une occasion importante de promotion de leurs œuvres, de professionnalisation et de réseautage.
Soutenir “EN VRAC” va permettre aux artistes d’obtenir des conditions optimales de création et de rencontre avec le public.
Soutenir “EN VRAC” va rendre possible la création et la diffusion d’un spectacle multiforme de qualité pour le public présent.
Soutenir “EN VRAC” vous offre la possibilité de faire partie d’une chaîne d’acteurs engagés dans une même dynamique d'ouverture, de nouveauté et de valorisation de la jeune scène artistique locale.
Ils nous soutiennent déjà
Le théâtre des Calanques
Théâtre de l'Œuvre
MERCI pour le soutin à:
Brody Clifford (NATIONAL PERFORMING ARTS FUNUNDING EXCHAGE), Baert Damien, Ferret Anne, Marconcini Francesco, Vigilcquel Corinne, Mario Tranchina, Peyrin Francoise, Palermo Giorgia et Ambra Iride Sechi, Association culturelle Faber, Lucille Betrancourt et Giacomo Ercolani. <3
ENGLISH VERSION - EN VRAC
2020-2021 artistic creation by the Cie LARGADE
The LARGADE company is a cultural association which aims to promote and develop exchanges, creations, activities, around performing arts and multicultural encounters.
The company develops particularly contemporary, experimental and performative art projects by being open to exchanges and artistic and cultural encounters. The creation of live performances, in all its forms and particularly choreographic, is a main axis.
This project is intended to be a mirror of the globalized world and the capitalist system, a pictorial, sound and dance narrative that reflects the vision of young artists with diverse and complementary backgrounds that we are. “EN VRAC” is a contemporary piece inspired by the capital sins of today’s society. Far from criticism, satire or taking a stand, this artistic initiative is nevertheless artistically committed by carrying strong messages under the cover of an abstract universe. Three characters, the creator, the creature and the destroyer, will interpret this contemporary narrative, divided into scenes which will pace the narration. Sound and lighting universes are indispensable elements. Multiform, this artistic creation will bring together two contemporary dancers/ choreographers, a director/ visual artist, live music, and a technical team.
We were inspired by Umberto Galimberti’s research on the capital vices of today’s society, in order to bring out the critical points of our contemporary society. To question our culture, to determine the current problems of our society, which hinder it, such as the absence of the idea of the future, conformism, nihilism, the apocalypse, the disconnection between body and mind, the approval of the established order, obedience, globalization, etc. While the fears of the old deadly sins were individual, the current deadly sins no longer destabilize us as individuals, but as a society, which promises us a “common hell”, a human or ecological war.
The aesthetic universe we want to create on stage is an empty space and at the same time harrowing , a space where light alternates with scenes of shadow, penumbra and neon, a space over-lit and mysterious at the same time. The aim is to bring out characters who play between archetypal figures and fiction, on the double, through syncopated gestures, video projections and stage objects.
The element of the mask is for us a fundamental scenic object; it confronts society, complex and multiform, which hides behind emblematic masks made of gestures and attitudes.
A power relationship between simple masks and complex masks, but always masks. They cover and reveal the real. The narration also deconstructs the fourth wall throughout the piece.
We want to make the viewer wonder:
What is going on?
Who the hell are they?
What is real about it?
What the hell happened?
Light against the shadow
Little by little, the voice of the creator goes out and the light comes and tries to take place in the twilight. It imposes itself in an impetuous, swift, fiery way. It emerges victorious. The scenic space, bright, is still occupied by the creator, and a masked monster appears.
The monster arrives, with jerky, decomposed, bulky movements. Like an elephant in a porcelain or a horse to tame. It does not fit into codes, standards. The creator will train it, tame it, educate it so that it fits into the mould. The dance will be animal, authoritarian, every part of the creature’s body will be stretched, broken. The limbs will be removed for re-shaping. This set is the symbol of the transformation, the resilience, the violence with which the creature is indoctrinated and forced to resemble the will of the creator.
The creator tames his creature, which assimilates the new movements. It is educated, conditioned. The creator is withdrawing.
The creature is alone, in the center of the stage, in the center of attention, like a fair beast. It shows all its new beings become conformed. The light is centered on it. It dances, gracefully, precisely, preciously, with rigid, classical movements. The voice went out, there’s silence on the set. The feeling of solitude, of emptiness, in which the creature is found is palpable and unsustainable. The creator who is in the background of the scene, speaks in the void, fills this void with his voice, totally inadequate with the gestures of his creature.
The red rats
Red rats - men dressed in red - similar to tennis ball-pickers, will cross the stage to offer the spectator a diversion. They are the comics, the bearers of hope, the outcasts, the invisible of our society. They pick up objects and the creature.
In the dark plateau, the voice continues, and begins to follow the sound that has just appeared. Voices are added, arriving from everywhere, superimposed on the music. The effects will gradually merge with the voice, making it progressively useless, until it disappears. It is chaos. Chaos, reinforced by light, in the form of flashes. It is the backlight, the contrary lights. The sound becomes more and more present, until it is the only element on stage. The creator disappears. The light sizzles, is stressful, uncertain. And turns into blinding neon.
Neon and noise. Music. Sound and light performance.
Real versus virtual.
Two bodies on stage and a video projection in the background, perfectly synchronized with the reality, the movements of the bodies. We see details of the parts of the body that make visible the micro-movements of the dancers. The gestures are organic and grow in space.
The bug of reality.
We begin to perceive slight discrepancies between reality and video. What is true, the projection or the scene? Fiction seems more real than the reality of the scene. Who to believe? What to believe? It’s the bodies that get the attention, and this organic reality that seems to be bugging.
The bug of fiction.
The fiction also begins to bugg with the bodies. Here begins a series of zapping between several realities, bodies are deformed, subliminal images appear. The truth is found elsewhere. This distance between truth and fiction is reinforced by the sound and light that video projects. Everything disappears, music and sound remain.
This last painting is symbolic. There is a shower of light in the centre of the scene as in the first scene. A cupboard enters under the light. A large, imposing character, the destroyer, advances in the darkness towards this cupboard. It is a new duel between light and darkness. The destroyer holds a club in his hand. He faces the cupboard. In an energy of anger and violence, he destroys it. In his gestures, in the noise of the roar, all vengeance resurfaces towards oppression, domination, humiliation. The subtle violence present throughout the play is heavy, accumulates in the public, society, and materializes by the arrival of a complicit public, which, to restore order, the norm, society, will use this same violence.
WHY SUPPORT US
In these volatile and uncertain times for the living arts, we need you. Without you, this project cannot take place. Thanks to your support, in any way (places, equipment, financial support, artistic and technical expertise) we will be able to carry out this beautiful creative project.
Investing in “EN VRAC” is a way to promote and support young contemporary choreographic creation.
Investing in “EN VRAC” helps support the local arts scene by enriching its programming with new features.
Investing in “EN VRAC” allows us to accompany the writing, research, construction and creation of a project with a multiform artistic approach.
Investing in “EN VRAC” provides the company’s artists with an important opportunity to promote their work, professionalize and network.
Investing in “EN VRAC” will allow artists to obtain optimal conditions for creation and meeting with the public.
Investing in “EN VRAC” will make it possible to create and broadcast a quality multi-faceted show for the audience.
Investing in “EN VRAC” offers you the opportunity to be part of a chain of cultural actors engaged in the same multi-stakeholder networking dynamic.
Elsa FERRET, Marco GAROFALO and Elisabetta GUTTUSO
Elsa FERRET and Elisabetta GUTTUSO
Luca VENTIMIGLIA Louis PRADO
Calypso ADAMO and Louise YRRIBAREN
Video/ Production/ Editing
Production / Artistic distribution
Léna LE CORRE