Plonger
Aquatic tale
En création
Indoors – 10 ++
Plonger is an aquatic tale that takes place at the edge and at the bottom of a swimming pool.
Through its scenography, the project wishes to explore –in a metaphorical and physical manner– the intimate and philosophical question of risk, of decision-making, the moment of taking a dive. And by the same means, our relationship to emptiness and fear. The universe of water with its mythological figures and the oceanic feeling that it arouses are an inherent part of the universe of the project as I imagine it today.
It will be a physical and scenographic exploration in which any attempt, through whatever means, will be an attempt at answering the questions posed at the edge of the void, at the edge of the pool, in a state of suspension. That question with its inseparable «?», which in essence opens itself to the unknown, to time suspended… to leave room for possible answers.
Combining verticality, suspension, physical theatre, choreographic research and philosophy, Plonger is the expression of a hybrid style of circus, fine and powerful, that leaves plenty of room for evocation and emotion.
Distribution : Project leader : Sarah Devaux, On stage : Sarah Devaux, 1 actor – to be found, Outside eye: Melissa Von Vépy, Construction : Niel Price, Set design : Laetitia Douanne, Light design : Thibault Condy , Production : Cécile Imbernon – La chouette diffusion, Administration : Myriam Chekhemani – La chouette diffusion ● A production Menteuses company ● Residencies and coproduction : La Maison de la culture de Tournai – La Piste aux Espoirs (Be) – Ecriture en campagne, Latitude 50, Marchin (Be) ● Financial support : SACD – Soutien à l’écriture Spectacle vivant ● With the support of : Le Château de Monthelon Montréal (Fr)|Cie Happés, Aigues Vives (Fr) |Théâtre des Doms, Fédération Française Wallonie Bruxelles, Avignon (Fr84) |Théâtre des Tanneurs, Bruxelles (Be) | Théâtre des Pénitentes, Béziers (Fr34) | Mons – Mars Arts de la scène (en cours)
Contact : Cécile Imbernon
Duration : +/- 1h
stage : 10x10m
Minimum hight : 6m
His work, but also Jesse himself, embodies a message of hope that our society needs: a life is not defined by one’s limitations but by how one faces his obstacles.
Jesse’s story is very impressive, but his new production contains more then his personal story. In a period in which mankind is literally and figuratively gasping for air A 2 mètres will be a fresh breeze, a performance of hope.
Cystic fibrosis patient makes extraordinary acrobatic performance ‘A deux mètres”
Jesse, a CF patient from Edegem (BE), will make an extraordinary acrobatic performance. ‘A deux mètres’ it is called. These two meters refer to the oxygen tube of two meters he has to carry.
But it is also the mandatory distance that we have to maintain from each other to prevent viral or bacterial cross contamination. For Jesse it is also a physical challenge.
Between dance, acrobatics and juggling, in balance between rivalry and cooperation, each one crosses the other’s gestural universe, pushing him/her towards more synchronized movements. Carried by a minimalist percussive music, the two artists then draw a plastically perfect choreography.
For the spectator the magic works! Young spectators, mature enough not to be frightened, can see this journey with its sometimes squeaky soundtrack, populated by dancing spectres and androgynous figures emerging from cupboards. With humor often called for, but also archetypal childish fears, omnipresent, which transport us. This distorted reality, absolutely fascinating, lets us tell ourselves stories: waking dreamers, to be seen!
A moving and innovative piece of contemporary circus, I applaud À Nos Fantômes for its beauty and its depth. Dark and yet comical, this piece – much like its protagonist – is two sides of an ever-turning coin.
The performance was a wonderful and entertaining experience, with incredible feats of acrobatics, juggling and coordinated skills.
A moving and innovative piece of contemporary circus, I applaud À Nos Fantômes for its beauty and its depth. Dark and yet comical, this piece – much like its protagonist – is two sides of an ever-turning coin.
The tableaux follow one another, framed as closely as possible by a work on sound and lighting. Dressed in an eloquent soundtrack, the young women run up, graze the ground, embrace eternity and grab us. At the limit of flight, they explore this fleeting state of floating, an inexhaustible space for research. All in grace. This circus is an incredible cinematographic ballet of beauty.
Célia Casagrande-Pouchet and Sarah Devaux take us to the confines of adult tales. Between dream and reality, absurdity and anguish, a remarkable show.
…] The young women dash out, graze the ground, embrace eternity and grab us. At the limit of flight, they explore this fleeting state of floating, inexhaustible space of research. All in grace. This circus is a hallucinating cinematic ballet of beauty.
For a long time, it inhabits you, it haunts you. Love, glory and beauty: nothing like it to feel alive!
No cultural or linguistic borders here, just human, sensitive, visual. The show played internationally. If you see it programmed somewhere, I can only encourage you not to miss the opportunity to dive into this universe of performances and mixed emotions.
A successful and clearly mastered artistic proposal.
A physical ballet, but also poetic, will then lead the two men to touch and graze each other.
And so it is that several moments follow one another where the imagination is nourished by poetry, dreamlike and sophisticated sequences that highlight both the individual physical performance and the fluidity of certain collective choreographies of these circus artists who populate or haunt, it is according to, the ramblings and other mental escapes of the sleeping beauty … a world where it is not surprising to see incredible kites flying in all directions, unicycles in goguette, random juggling, athletic lifts, slender pyramids or perilous voltiges …
The images follow one another, with their share of aerial acrobatics, steps over the void and extending balances. Unheard-of bounces on the surface of this random mirror.
The circus arts infuse the piece, in a dimension never seen before, so new is the inclusive lan-gage of Lapsus.
An explosive show with subtle light effects, which combines juggling, acrobatics on the ground, hand to hand and unicycle. The Lapsus Company offers a performance that reminds us of pieces such as Oh les beaux jours or En attendant Godot.
Sometimes, in a soft light, around fragile eggshells that looked like dead leaves, the troupe created a beautiful feeling of melancholy, bringing us back to our childhood memories, to those days when our simple (but much less virtuoso) games filled us with happiness
This club of six doesn’t hesitate to take up the foundations of the circus, without seeking innovation at all costs, without seeking performance at all costs. It sounds simple, so simple. What’s important is what it says about human beings, about their ever-renewed capacity to destroy, to tear to pieces. And then, on a pile of rubble, a work of art is born. It’s as beautiful as a field of ruins.
The stage had become a playground for all the human dimensions: friendship, love, group behavior, and the pleasure of being together. The show was like a moment of grace, even a fusion with a very enthusiastic audience who applauded them warmly.
Being able to connect with the innocence, beauty and courage of childhood is a truly precious experience.
The couple work in perfect harmony and end up combining their skills in an artistic and beautiful way.
The whole show is a refreshing and uplifting cool breeze, a spritzer for the soul.
The performance was a wonderful and entertaining experience with incredible feats of acrobatics, juggling and coordinated skills.
La compagnie
Menteuses [Be]
Sarah Devaux et Célia Casagrande-Pouchet se rencontrent à l’ESAC (Ecole Supérieure des Arts du Cirque de Bruxelles) en 2011. Immédiatement une complicité artistique naît.
A la sortie de leur formation, en 2014, spécialisées en corde volante et corde lisse, elles se plongent dans des premières recherches physiques et artistiques liant ces deux agrès.
Les Menteuses est créée en 2015, pour accueillir leur premier spectacle, À nos fantômes. On y rencontre un personnage baroque, au prise avec ses désirs, ses fantasmes, mais aussi ses désillusions, le tout dans un univers complètement métaphorique. Tout se joue autour d’une grande corde noire magique, tantôt verticale, tantôt ballante.
Depuis, La compagnie s’implante dans le paysage bruxellois, mais étend aussi ses collaborations avec divers partenaires à l’international. Elle s’attache à travailler à une création sensible et théâtrale, où l’univers semble s’équilibrer entre onirisme, surréalisme, et absurde. La place donnée à l’image, à la lumière et au son dévoile leur attirance pour une certaine esthétique cinématographique.
Si le corps en suspension, constitue un de leur langage scénique essentiel qui leur permet d’ouvrir un espace métaphysique autre, la question de l’agrès semble aujourd’hui s’éloigner pour laisser la place à une scénographie particulière au projet, mais aussi à un corps qui puisse exprimer tout son potentiel poétique, physique, émotionnel et théâtral pour tenter, quelque soit la manière, de raconter ce qui agite l’âme humaine.
Sarah Devaux : Sarah est diplômée de l’ESAC (Bruxelles) depuis juin 2014. Là-bas elle se spécialise en corde lisse et y inscrit des rencontres qui marqueront la suite de son parcours.
Notamment la collaboration avec Valérie Dubourg, pour son spectacle Péripéties, mais aussi avec Célia Casagrande-Pouchet, avec qui elle fonde la Cie Menteuses en 2015, et créent leur premier spectacle À Nos Fantômes, entourées de Mélissa Von Vépy et Tom Boccara (Réalisateur de cinéma).
Elle fait actuellement partie de la distribution de Open Cage-cie Hors Surface, de la prochaine création de la cie l’Indécente-Camille Châtelain pour une pièce hybride, mêlant cirque et musique live, No Rest for Lady Dragon, ainsi que celle de Mélissa von Vépy, Les Flyings. Son amour pour le théâtre l’amène aussi à travailler avec le metteur en scène belge Pascal Crochet dans une pièce qui place sa recherche autour des possibilités poétiques du corps(sortie 2021), et avec la compagnie Teraluna, dans une pièce qui raconte la famille, Les Gunn’s habitent au 43, écrite et mise en scène par Sébastien Barberon.
Au sein de ces divers créations, Sarah pousse ses recherches dans un langage métaphorique et un univers théâtral physique et singulier, où le cirque devient un moyen puissant pour raconter autrement. Raconter autrement l’être humain, dans toute sa folie et sa beauté ; dans ses aspirations, ses quêtes, mais aussi ses angoisses et ses contradictions…
Forte de toutes ces expériences, Plonger arrive à un moment de son parcours où la nécessité se fait sentir d’écrire le cirque depuis un autre point de vue, sans compromis ni inhibition.
