Sisyphe
Lola Rudrauf et Giulia Tellier
2022
performance
- Parallèle - Confessions Nocturnes - 22 janvier 2022 - Artagon Marseille
- Public Pool #8 - Les espaces autres - 16 octobre 2021- Centre de Création Contemoraine Olivier Debré Tours
Creation : Giullia Tellier et Lola Rudrauf
In a performance that deals with alienation and futures that are difficult to think about, Sisyhe splits up and becomes a woman. Under the exhaustion of exploitation, what anger, what sweetness, what encounters can exist?
We read in the myth of Sisyphus a form of alienation and an exhaustion that can never happen, and propose from there a contemporary and political reinterpretation of this exhaustion. The corporal and sensory game mixes our bodies with the material, introduces the horizon of the excessive exploitation of natural resources as well as the one of the erosion of our exploited bodies, making several situations and time-spaces collide. We work on the repetition of precise gestures, applied to materials and construction materials. We conceive repetition as an overcoming of imitation.
The exhaustion due to the repetition of our gestures allows us to question the relationship between materials and body, two exploited resources. The performance condenses these realities which are the erosion of the exploited beings and the drying up of the natural resources. Concretely, we show their interaction: the way in which human effort affects a material, but also how the body receives a response from the material: through the tension of the muscles, the speed absorbed, the energy deployed. This weakening of our muscles due to the play of force between the material and our bodies questions the qualities of movement that we will adopt. Through weight, volume, flow (free, continuous or jerky) and time, the materials transmit a force on our own bodies. It is in this play of force that the gesture (by losing its purpose) becomes movement, that our two bodies meet and solidify through the progressive alteration of the material and fatigue.
The exhaustion is also a mirror held up to the spectators. Towards their own tiredness, the one that enchains and takes its source in the work, the life and the daily tasks, the administration, the violence, the repetition of words and gestures supposed to be useful and productive. However, we are aware that the energy we put into performing is at its source an added value: our work of art is not imposed, nor directed, but sought and thought out to be shared. We open up the possibility of another energy, and of another exhaustion than the one we undergo, creating a solidarity with the spectators. The performed reality and its mechanics leads to a reconnection to our own bodies, to the Other, and re-situates our corporeality as a field of engagement.
performance
- Parallèle - Confessions Nocturnes - 22 janvier 2022 - Artagon Marseille
- Public Pool #8 - Les espaces autres - 16 octobre 2021- Centre de Création Contemoraine Olivier Debré Tours
Creation : Giullia Tellier et Lola Rudrauf
In a performance that deals with alienation and futures that are difficult to think about, Sisyhe splits up and becomes a woman. Under the exhaustion of exploitation, what anger, what sweetness, what encounters can exist?
We read in the myth of Sisyphus a form of alienation and an exhaustion that can never happen, and propose from there a contemporary and political reinterpretation of this exhaustion. The corporal and sensory game mixes our bodies with the material, introduces the horizon of the excessive exploitation of natural resources as well as the one of the erosion of our exploited bodies, making several situations and time-spaces collide. We work on the repetition of precise gestures, applied to materials and construction materials. We conceive repetition as an overcoming of imitation.
The exhaustion due to the repetition of our gestures allows us to question the relationship between materials and body, two exploited resources. The performance condenses these realities which are the erosion of the exploited beings and the drying up of the natural resources. Concretely, we show their interaction: the way in which human effort affects a material, but also how the body receives a response from the material: through the tension of the muscles, the speed absorbed, the energy deployed. This weakening of our muscles due to the play of force between the material and our bodies questions the qualities of movement that we will adopt. Through weight, volume, flow (free, continuous or jerky) and time, the materials transmit a force on our own bodies. It is in this play of force that the gesture (by losing its purpose) becomes movement, that our two bodies meet and solidify through the progressive alteration of the material and fatigue.
The exhaustion is also a mirror held up to the spectators. Towards their own tiredness, the one that enchains and takes its source in the work, the life and the daily tasks, the administration, the violence, the repetition of words and gestures supposed to be useful and productive. However, we are aware that the energy we put into performing is at its source an added value: our work of art is not imposed, nor directed, but sought and thought out to be shared. We open up the possibility of another energy, and of another exhaustion than the one we undergo, creating a solidarity with the spectators. The performed reality and its mechanics leads to a reconnection to our own bodies, to the Other, and re-situates our corporeality as a field of engagement.