À nos fantômes

Menteuses [Be]

On tour • Created in 2018 // This show is no longer on tour

À nos fantômes

Menteuses [Be]

Aerial fable

À Nos Fantômes is a tribute, a celebration, to what haunts us. Gloria was never a Swedish singer or a figure skating champion, but she dreamed of it. Hanging in midair, looking uncomfortably overdressed, she’s waiting for things to happen… Thud! Free fall entrance. A young woman lies on the ground. The resemblance is uncanny. Could it be… her?

The two performers embark on a quest, that of an intimate elsewhere. Sarah Devaux and Célia Casagrande-Pouchet play with our eyes in delicate tableaux. As a duo, the acrobats merge in an aerial footwork. As a soloist, their character Gloria sometimes disappears in a mysterious fog. But she reappears each time, as if reality were catching up with her. Here, what can be seen is as good as what happens in the dark, hiding there those ghostly moments of an internalized absolute. A nos Fantômes feels more than it tells. Les Menteuses creates a non-palpable and sometimes disturbing universe in which the spectator can project his or her own aspirations of ascension.


Writers and Performers Célia Casagrande-Pouchet & Sarah Devaux Direction Tom Boccara Artistic management Mélissa Von Vépy Sound design Noé Voisard Lighting design and stage management Thibault Condy Costumes Julie Antipine Set design Delphine Coers & Théodore Brisset Production Marion Lesort – La chouette diffusion A production by Menteuses Cie. Co-production & Backing Espace Catastrophe – Centre International de Création des Arts du Cirque [BE] Coproductions CAS / Centre des Arts Scéniques [BE], MA-Scène Nationale du Pays de Montbéliard [FR], SACD/ processus cirque [FR], Centre Culturel du Brabant-Wallon [BE], Maison de la Culture de Tournai [BE], Bureau International Jeunesse [BE] Creation Residencies MA – Scène nationale du pays de Montbéliard [FR], Espace Catastrophe [BE], Centre culturel du Brabant-Wallon [BE], Latitude 50 – Pôle des arts du cirque et de la rue de la Fédération Wallonie-Bruxelles [BE], Théâtre de Baia Mare [RO], CAPI Théâtre du Vellein [FR], La Batoude-Centre des arts du cirque et de la rue [FR], La Grainerie – Balma [FR], Destelheide -Dworp [BE], Château de Monthelon [FR] Support Fédération Wallonie-Bruxelles – Service Général de la Création artistique – Service du Cirque, des Arts forains et des Arts de la Rue, Théâtre National / Festival XS, SACD Belgique.

The company

Menteuses [Be]

Sarah Devaux and Célia Casagrande-Pouchet met at ESAC (Ecole Supérieure des Arts du Cirque de Bruxelles) in 2011. Immediately an artistic complicity is born. After their training, in 2014, specialised in flying rope and smooth rope, they plunged into their first physical and artistic research linking these two apparatus. Les Menteuses was created in 2015, to host their first show, À nos fantômes. We meet a baroque character, struggling with her desires, her fantasies, but also her disillusions, all in a completely metaphorical universe. Everything is played out around a large black magic rope, sometimes vertical, sometimes swinging. Since then, the company has established itself in the Brussels landscape, but also extends its collaborations with various international partners. The company is committed to working on a sensitive and theatrical creation, where the universe seems to be balanced between dreamlike, surreal and absurd. The place given to image, light and sound reveals their attraction to a certain cinematographic aesthetic. If the body in suspension constitutes one of their essential scenic languages, which allows them to open up another metaphysical space, the question of the apparatus seems to be moving away today to make room for a scenography specific to the project, but also for a body that can express all its poetic, physical, emotional and theatrical potential in an attempt, in whatever way, to tell the story of what stirs the human soul.

Célia Casagrande-Pouchet

Born in 1989, Célia took her first steps on stage through dance and music when she was very young. She started acting and clowning in her teens with the Manicomi theatre in Lyon. But between climbing, piano, dance, clowning, handball, theatre, guitar…it was difficult to choose! It was then that she met the Virevolt company and discovered the circus. From there, the grand slam of schools occurs: first she joins the Ecole de Cirque de Lyon, then starts the flying rope at the ENACR (Ecole Nationale des Art du Cirque de Rosny-sous-Bois) in 2008 and graduates from the ESAC (Ecole Supérieure de Art du Cirque) in 2012. Her identity is marked by the multidisciplinary skills she acquired at a young age. Her challenge is to take inspiration from all her passions and use them on stage. To do this, she began working with the U-rope (a rope that passes over a point in a pulley and allows you to change levels and have a different relationship with the ground). After having initiated the Treizième été Company, she co-wrote and performed in the street show CirconRuedas. For this duo creation, she wishes to start with a completely different kind of writing, intimate and detailed.

Sarah Devaux

Sarah graduated from ESAC (Brussels) in June 2014. There she specialised in corde lisse and made encounters that would mark the rest of her career, in particular the collaboration with Valérie Dubourg, for her show Péripétiesbut also with Célia Casagrande-Pouchet, with whom she founded the Cie Menteuses in 2015 and their first show À Nos Fantômes, with Mélissa Von Vépy and Tom Boccara (film director). She is currently in the cast of Open Cage-cie Hors Surface, in the next creation of the Indécente-Camille Châtelain company for a hybrid piece, mixing circus and live music, No Rest for Lady Dragon, and Mélissa von Vépy’s Les Flyings. Her love of theatre has also led her to work with Belgian director Pascal Crochet in a play that places her research around the poetic possibilities of the body (released in 2021), and with the company Teraluna, in a play about the family, Les Gunn’s habitent au 43, written and directed by Sébastien Barberon. Within these various creations, Sarah pushes her research into a metaphorical language and a physical and singular theatrical universe, where the circus becomes a powerful means to tell a different story. To tell a different story about the human being, in all its madness and beauty; in its aspirations, its quests, but also its anxieties and contradictions… Strengthened by all these experiences, Plonger arrives at a point in his career where the need is felt to write the circus from another point of view, without compromise or inhibition.


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