We all believe to know Frankenstein, the pathetic and oaf monster of James Wales films... and we are all wrong!
Frankenstein
is the fruit of the pain.
Fantastic novel written by Mary Shelley, English young woman whose tortured
life is symptomatic with the discrepancies of the 19th century: codified and
ultra rigid society confronted with the thousand hopes of the scientific discoveries
- electricity and biology, where the fabulous capacity of creation of God seems
to be able to be caught up with by the man - and aspiration with new ways of
thinking, inevitably more humanistic and spiritual.
This unnamed, phantom monster of a new command, is nothing compared with the person who created it. It is the torment and the ambition of the creator which are represented here. On scene, the characters want to build another world and are engaged at such point that they become their own creations. The decoration, of the same manner, changes with the wire of the history: university of Ingolstadt to the boat taken in the storms of Antartique, it becomes laboratory, castle, hospital...
Here,
not of word, the body is language, creator and creature. Being based on
a setting in scene where the contemporary dance mixes with the vocabulary
of the circus, the group unceasingly tries to be confined of its image:
leave there only the misadventures humanoïdes; some as hideous as
the monster of Frankenstein and others as tenderizing as the ewe Dolly.
When they reach the reason, it is the hatred and the revolt which carry
them...
Horizontal continuations, jugglings, dances on the ground or air with one,
two or three on a trapezoid, the characters go and come, are clutched, are
challenged, flee in front of the horror of their inventions, fire and the grace
mix and clash on technoïdes rhythms torn by the squeakings of an exciting
saxophone.
This performance was born from the meeting of the Circus Baroque and the organizers of the Kunstfest Festival of Weimar - European cultural Capital in 1999 - articulated around the work of Wolfgang Deichsel on the promethean myth of Frankenstein.
cette production a reçu l'aide à la création du Ministère de la Culture this production has received an assistance of France Culture's Ministry co-production Weimar 1999, Capitale Culturelle de l'Europe le Cirque Baroque bénéficie du soutien de Cirque Baroque benefits of the financial help of Ministère de la Culture et/and Conseil Général du Val de Marne
Born in 1948.
Actor
and musician, he worked with among others: William Klein, Claude Berri,
Roger Blin and the National Theatre of Strasbourg.
Self
trained acrobat he creates the company "LE PUITS AUX IMAGES" in
1973.
In 1987, he creates a second company to develop slicker new circus concepts: "CIRQUE
BAROQUE".
From 1992 to 1999, he was Artistic Director of PARADE(S), a Circus and street
performances Festival in Nanterre.
Since 1992, he is also coordinator of the Circus School in Chevilly-Larue.
Directing
businesses events for Kenzo, Apple, Badoit, Petit Bateau, Lancia, Nokia,
Gymnase Club
Involved
in everything concerning circus arts in France, Christian TAGUET sits on
the board of director of CNAC (the National Circus School) and in the Commission
of Creation (Culture Ministry); In addition, he was the president of the
Union of New Circus Art Forms (1998-99).
In 1986,
he received the National Circus Grand Prize (Grand Prix National du Cirque).
Nomination to the grade of "Chevalier dans l'Ordre des Arts et des Lettres" in
1995.
AGUSTIN LETELIER direction
Valparaíso - Chili - 1967
He first
worked with the company "Evolución".
Author of plays and scenarios, he did choreography, and in 1985 he received
the award for "theatrical revelation" of the year; he went on to
study dance and literature at the University of Chile.
He founded several theatre groups and organized underground anti-military performances.
From
1985 to 1990, he wrote dialogues for radio dramas and children's theatre.
He was a member of the Victoria Theatre Artistic Collective in Valparaíso,
presided over by the poet Enrique Moro, and joined the C.I.T.E. Theatre, directed
by Juan Edmundo González.
In
1989, he became one of the founding members of the newly formed Teatro del
Silencio. A variety of gestural theatre works and street shows were created
and performed all over the world for 6 years.
In 1993, he was awarded the Performance Arts Grand Prize for best actor of
the year for his role in the Teatro del Silencio production "Taca, Taca,
mon amour".
He
studied in Paris, working notably on the theory and practice of Kyogen and
No theatre.
From
1994 to 1997 he participated in the creation of "Candides" by the
Cirque Baroque, while also continuing his work as a writer. In 1998, Christian
Taguet confides him Ningen's stage setting and in 1999, the Frankenstein's
one. He participates also in these two creations as comedian and as singer
and leaves in worldwide tour with these two shows.
In 1999, he also assumes the stage setting of the show "Illusion" of the Company "Tout fou tout fly".
ENZO IORIO set & costumes
He studied
architecture at the University of Naples. His interest in music led him
to work with various experimental groups in his hometown, before venturing
into the world of theatre both in Italy and in France. In Paris, he studied
at E. Decroux's school, Mime Corporel, and founded the "Compagnie
du Perhaps". He became thoroughly involved in modern dance and created "Compagnie
'86".
As a video artist, he also filmed clips for commercials, documentaries on architecture,
theatre and dance creations. At the same time, he continued to explore the
graphic arts and began to create scenery for various shows and operas (Phi-Phi,
Carmen, Il Signor Bruschino, Panurge, Les Saltimbanques, The Barber of Seville...).
JEAN MARIE PROUVEZE lights
After
his first lighting creation in Marseille in 1973, he came to Paris to explore
the different disciplines in which lighting is an essential ingredient.
This
initiation process led him to work on performances that demand extreme versatility:
from the inauguration of the Louvre Pyramid to Urban Sax concerts on prominent
buildings, from Chanel or Kenzo fashion shows across the world to Jacques
Higelin concerts, from the tragedies of Corneille to the energy of MC Solaar,
from the opening ceremonies of the Mediterranean Games to the musicals "Mayflower" or "Embrasse
moi idiot", from the consecration of the Casablanca mosque to the wild
Archaos Circus.
The
combination and reflection of all these experiences will take him to the
crossing of rave parties and opera, from classical tragedy to rock circus,
from grand official ceremonies to enchanting musicals; in addition to traditional
lighting techniques, he splices the technology of the future into these events:
images, colors, automatic controls, movements and creations...
Lighting
is the doorway between artistic expression and the audience." Jean Marie
Prouvèze works with the new forms of artistic creation and invention
which enable him to endlessly reinvent his craft.
92 shows
1999 :
France: Avant première à Villemaréchal, Bourg en Bresse, Obernai, Orly
et Vienne -
Allemagne: Weimar - en coproduction.
2000 :
France: Blagnac, Fontainebleau, Niort, St Lô : Festival "les Nuits
foraines" & St Quentin en Yvelines - Allemagne: Mainz - Chili:
Santiago - Danemark: Aalborg - Italie: Bologne - Norvège:
Porsgrunn et Skien - Philippines: Manille - Suède: Göteborg.
2001 :
La Seyne
sur Mer: "Janvier dans les Etoiles".
