Scenes
Article reserved for subscribers
Le Rond-Point is programming “Fuck Me”, “Love Me” and “Kill Me”, three shows by the Argentinian choreographer and performer who delivers a radical introspection between resilience and jubilation.
As for taking the Marina Otero wave head on, the Théâtre du Rond-Point, spectacularly refreshed since the Laurence de Magalhaes-Stéphane Ricordel duo took over from Jean-Michel Ribes exactly a year ago, is not doing things by halves. In order to launch its 2024-2025 season with a bang, it is programming three shows by the choreographer and performer in a row: Fuck MeLove Me et Kill Me. In other words, a triptych, as the perfect symmetry of the titles suggests, even if, from what we understand, the first (Fuck Me) also marked the conclusion of a previous trilogy, begun with Andrea et Remember 30 years to live 65 minutes.
The only certainty is that, at once gestures of survival, signals of urgency and unalterable proclamations of a faith in artistic creativity, all of Marina Otero’s projects – which, she assures us, will only cease to germinate on the day of her death – revolve around an introspection with a universal aim, where everyone will glean at will the scattered elements of a dramaturgy interweaving seriousness and (self)mockery, like pain (mixed with masochistic pleasure) and resilience.
Fragments of life
A singular introit, as fragile as it is brazen, jubilant and captious, Fuck Me places the artist as a cripple, reduced, following a major health problem,
