BIOGRAPHIE COLLABORATEURS - Théâtre du Passage

These hybrids are in a way translucent. We can see culture as layers of history combining and influencingeach another – separate events that have no relationship to one another linking themselves together intoone cultural space or memory.Orpheus will therefore be influenced by and seen through Dido and Aeneas.In addition I also introduce another perceptual distortion or element to this process. An ―alien‖ point ofview that observes the second half of the ballet Orpheus from a remote vantage point. Remote as inremoved from any knowledge, understanding or cultural context.It occurs in parallel to the Orpheus narrative and consists of a visual transcription of this sameballet/narrative in film form (on stage) representing the point of view of Cerberus.Cerberus is of course the three-headed dog guarding the way to Hades. A film is projected on stagerepresenting how the ballet and stage narrative of the second half (Orpheus) would appear through theeyes of Cerberus. The eyes of a dog.The distortions, both visual and thematic stemming from observing the piece through the imaginedperspective of a dog, create an out-of-culture and out-of-species point of view while still maintaining athematic link to Orpheus (the dog as Cerberus). This mechanism represents both the vantage point of thethematic dog (Cerberus), and the wild, distancing point of view of a wild dog.The film extends its influence onto the stage by affecting the lights, the music, and the choreography.With regard to the music, in particular, sound textures emanating from the film introduce distortions to themusic creating an interference that the audience has to reach through in order to "listen" to the music.The composer responsible for these textures was not in contact with the composer responsible for themain work, thus insuring a non-cooperation inherent to this type of work.By Édouard Lock