Nathalie Béasse’s shows have no equivalent. For twenty years, the director, who comes from the visual arts, has been inventing pieces such as landscapes or poems, which leave a deep trace in the unconscious. This month of January, she is moving to the Théâtre de la Commune, in Aubervilliers (Seine-Saint-Denis), with a multiple program, which notably allows you to see or rewatch one of her previous plays, The Sound of Falling Trees (2017), and to discover a new, magnificent creation, entitled Velvet. We explore with her the motifs that run throughout her shows, like a vast tapestry with infinite variations.
Rideau
In Velveteverything starts from him: an immense curtain of faded pink velvet, which occupies the entire width of the stage. But there were many others in his previous rooms: curtains of all colors (off-white, mustard, green, etc.) and of all sizes. “The curtain is first and foremost the theater. With VelvetI wanted to tell my relationship with the theater. A report that is not based on history, narrative. What does the simple act of entering a room, sitting and waiting, in front of a closed curtain, cause? Velvet is a tribute to theater in the sense of the machinery, of the moment, of the intimate projection of each spectator. All my curtains are made of velvet: a projection material that makes color vibrate. The curtain is a threshold: what is happening behind it? It’s the other side of the mirror, which has always attracted me. We hope that it opens onto a parallel world, like David Lynch. And it’s a skin, too: something very beautiful, but which can be terribly suffocating. It embodies dreaminess, softness, presence. And behind this big curtain, there are others, in a form of choreography. »
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