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.
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.