11, 12, 14, 15 Mei/Mai/May 20:30
Duur/Durée/Duration: +/- 1:30
Ora O, Het Uur Nul, het niemandsland van de moderne grootstad, bewoond door de verschoppelingen van Gorki's Nachtasiel en de contemplatieve nostalgie van T.S.Eliot. Carmen Blanco Principal, Monica Klinger en Patricia Saive, alle drie artistieke medewerkers van de Belgische regisseur Thierry Salmon en nu samen furiosas, ontwikkelden in hun voorstellingen een visuele taal die zich beweegt tussen theater, dans en beeldende kunst. De intieme wereld die furiosas ensceneert is er een tussen slapen en waken, tussen droom en ontnuchtering.
Naar/Inspiré de/Based on: Maxim Gorki, Les Bas-Fonds / Nachtasiel / The Lower Depths
Concept/Conception: Carmen Blanco Principal, Monica Klingler, Patricia Saive
Met/Avec/With: Luis Alvarez, Marie Bach, Marie De Corte, Yves Delattre, Cecilia Kankonda, Monica Klingler, Dimitri Linder, Enrico Roccaforte
Assistent scenografie/Assistant à la scénographie/Assistant scenography: Rossana Raddi
Licht/Eclairage/Light: Vincent Longuemare
Muziek/Musique/Music: Frédéric Bourton
Technisch directeur/Régisseur général/Technical direction: Stefano Serra
Geluidsregie/Régie son/Sound director: Dominique Baguette
Productieleiding/Direction de production/Production managment: Pol Mareschal
Productie/Production: furiosas (Brussel/Bruxelles & Zürich), ERT Modena
Coproductie/Coproduction: Zürcher TheaterSpektakel, Le Théâtre de la Balsamine (Brussel/Bruxelles), Bruxelles/Brussel 2000, KunstenFESTIVALdesArts
Met de steun van/Avec le soutien de/Supported by: Charleroi/Danses, la Direction générale de la Culture de la Communauté française de Belgique - Services du Théâtre et de la Danse, Ueli et Eva Hirzel, STUC (Leuven)
Presentatie/Présentation/Presentation: Gemeenschapscentrum De Kriekelaar, KunstenFESTIVALdesArts
There has been Thomas Mann's The Magic Mountain and the vast, white snow in La danse des pas perdus; the harsh gravel of A corps perdu; and the earth sown with green grass for Laps. In each of these creations there was also a slow flowing away, with time slowly falling apart, outside life, outside cities.
These were the first three performances by Carmen Blanco Principal, Monica Klinger and Patricia Saive, all of whom have worked closely with director Thierry Salmon. They collaborated on his productions of Troyennes (Euripides' Trojan Women, 1989), Des Passions (adapted from Dostoyevsky's The Possessed, 1993) and Themiscyre (1997), his unfinished quest on the myth of the Amazons. Forming their own group in 1994, they called themselves furiosas, meaning ‘furious'. They chose this name because, being used to grappling with all aspects of live performance, they found it hard to confine themselves to the established rules of theatre and because, instinctively, they were used to working as equals, each throwing their turbulent ideas into the fray.
Patricia (stage designer), Carmen (director) and Monica (choreographer) pooled their thoughts on the question of theatrical space. « Space on stage is time ». For them, « we never take possession of the black box of the theatre in advance. Our idea of the performance is not just based on theatre with dialogue specified by what has been written in the play. We like to work with all the physical and concrete aspects that are part of the stage. We like to develop, explore and mix its different languages and try out all the expressive possibilities of its space. » Sensitive to the plastic arts and cinema, they have invented a ‘method' on the edge of theatre, dance and performance, of reality and dream, conscious and unconscious, a method where time is suspended, a method where the innermost being vibrates, a method which is inspired and poetical.
For their fourth collaboration, once again they wanted to delve into the never-ending question of the human condition and its frailty. They wanted to look at frustration, the complexity of emotions, the feeling of not living freely according to ones desires, the fear of death and the need for consolation, the expectation and escape to be found in dreams. This time they wanted to traverse the city and its moods and assemble their mosaic of the different droning and humming that can be found inside an urban space, finding it more contemporary. That is how Ora O (Zero Hour) began. For the first time they are working with eight performers who have been actively involved in the writing process. The first shades of their characters were provided by Gorky's The Lower Depths (1902) - his "night shelter" will be the setting of the prison that is life. In counterpoint, T.S. Eliot's poetry will form the sky and landscape of this canvas of solitary reveries.
Here is a place of disaffection
Time before and time after
In a dim light: neither daylight
Nor darkness to purify the soul
Neither plenitude nor vacancy...(T.S. Eliot)
Here, perhaps, the characters from Lower Depths will be recognised - the dominant baron, the failed artist, the romantic prostitute, the policeman, or Anna, the woman scared of dying. "To us these derelict characters are figures who are adaptable and open. From them we will take the fragments of concrete situations. T.S. Eliot's poems touch upon the same despair, passion and distress with a poetical power that allows us to detach ourselves from the anecdote and lets the images, lights and atmospheres emerge."
This is how the three furiosas are tackling their search for content and form. « In theatre, how do you convey an intimate thought in a collective public space. How do you make stories interpenetrate? How do you give the sensation of action speeding up or slowing down, of a blur, a close-up or a wide shot? How do you make an inner voice-off heard in the midst of external voices? How do you make something out of a foreground then abandon it for the background, when both remain lit? In Ora O, we want to look into the possibility of exploring dreams, of going ‘live' into the head of a character then going back to the group, making a situation containing realist acting coexist with an abstract movement, moving from one time to another without using darkness. » The kind of perceptions that cinema can easily offer are what Carmen, Patricia and Monica want to create in the theatre. But they want to do it without using technical methods, relying on the resources of acting, the body, its rhythms and an actor's look which, like a camera, might guide where the audience looks. They will be working on the city's atmospheric sensations.
The attention being paid by these three young women to the interiority of people matches their heightened sensibility to the outside world. There are suddenly thoughtful looks that do more than others to capture the gap between an individual's deep aspirations and the waltz of life that pulls his destiny this way and that in a movement that is no longer his own. There are deep shocks that remove all sense in the world's course. Ora O explores this edge where distress steals its moments of beauty, where time sways, suspending its motion, where...
Dawn points, and another day
Prepares for heat and silence. Out at sea the dawn wind
Wrinkles and slides. I am here
Or there, or elsewhere. In my beginning. (T.S. Eliot)Back to top