Presented in December in Porrentruy and Delémont, the play invites the public to incisively reflect on their own experience as a spectator. From the opening, the actresses Clea Eden and Fanny Krähenbühl blur the lines, arriving in the foyer of the theater decked out in costumes supposedly recovered from the stock of the place: a fir tree and a strange snowball.
They claim to be the future directors of the theater, blurring the lines between real biographies, personal anecdotes and ambitious project for the next season of the theater. This is a pictogram, the white man on a green background of the emergency exits: exit!
“Exit!” is an encouragement to get out of theaters, because nothing good is happening there (in the broad sense!) according to future directors. Nothing escapes their criticism, have-you-seen actresses, useless directors, spectators out of habit…
Skillful representation
Fanny and Clea play dizzily without a net. For them, exit the fourth wall, the interaction is direct with the spectators. And some subscribers seem reluctant to see their red and bourgeois armchair called into question. This is because the play written by Luca Depietri evokes the legacy of the Situationists and questions the commodification of the spectacle and the social relationships that play out there.
Its performance as part of the Midi theater is skillful. It invites us to wonder if this format, which allows us to see “a light form”, well calibrated to midday time, and often without risk, is not precisely an example of commodification of the spectacle…
A fan of “cognitive disorientation”, KKuK forces us to question our relationship to shows. Like Buñuel’s scalpel, the company’s speech tries to open our eyes: what do we not want to see so we can lock ourselves away in dark rooms?
In the Jura, the Midi theater series continues with Bohemian Tragedy presented on January 20 at the Inter de Porrentruy, then on January 22 and 23 at the Théâtre du Jura.
