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A strange painted material, only revealing
eleven pairs of shoes, passes noisily in front of us, hanging from
flowery poles.
A few yards away it opens, divides in two and unfolds onto the ground
making the women's choir confront the men's choir around a hastily drawn
circle.
The " indigènes " ceremonial can now commence, and
we have become spectators - sitting on the ground in the heart
of the city, at its edge, or in the middle of nature - to an ancient
hymn of love, to a tragic, essential myth that dates from before
writing began.
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The dark rigour of tradition which rules the relationships
between feminine and masculine is evoked here through rituals which are both
serious and joyful, marked by a gesture or cry, punctuated with some
essential words uttered in an invented language and music that harks back to the savageness of old.
A
young woman and a young man suddenly confronted with a violent and
impossible love, wich will throw each member of the clan into disbelief,
terror or questioning about their rebellion. The underlying threats
that inhabit the primitive world close in around them. Night falls
full of bad dreams. Pushed to the brink, the young heroine agrees
to feign death in order to escape the norm. Her lover, who
has not been told, poisons himself. A last kiss will end the young
woman's life.
This
progressive parallelism with the story of " Romeo and Juliet
" springs without doubt from the humour of Delices DADA,and
above all from the need, stated by the Dadaists and still present
today, to toy in capital
letters with famous works and the seriousness of art.
This
wild confrontation between a classic literary work and a theatre
based on sound and gesture does not only limit itself to this difficult
challenge.
The
emphasis that the primitive world brings here, paradoxically triggers
off compelling questions which rock our time. Those very questions
wich are triggered by the oscillation between racing pace of modernity and refuge
in tradition.
However,
in the end we ask ourselves whether this single argument may truly
motivate these " indigènes ", who invite us now to leave their ceremonial place. Perhaps within them, in their will, then and here to carry out this performance, there is a more timeless need… the eternal need to blend imagination and reality.
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Co-production: Delices DADA, the
Festival d' Aurillac, the Festival Chalon
in the street, the Citron
Jaune d'Ilotopie, Place of creation in Aurillac and in Port
Saint Louis du Rhône in the Citron Jaune d'Ilotopie.
Subsidies : Ministry
of Culture and ADAMI.
Thanks to the Fust
Theatre for their warm welcoming in their premises in Montélimar.
mail : alo@delices-dada.org |
Eleven
imaginary Indigènes for a " Romeo and Juliet " from the
depths of time. 
