Théâtre du Centaure Tents
L’Absolu is a poetic parenthesis in which the elements – water, air, fire – and materials become veritable partners the search for the infinite and for the truth. In an absurd universe that is sometimes burlesque, Boris Gibé faces the abyss of the absolute, that which the artists attempts to access while fighting against himself. Absolute because uncatchable to he who wants to master it. In the “Silo”, a sheet metal big top which includes 100 seating places spread out over a double-revolution staircase, the aerial choreography offers a dizzying experience and a novel angle of observation to better play with the audiences’ perceptions and visual, sensitive and emotional impressions.
Boris Gibé’s “metaphysical circus” is imprinted with the theatrical universes of Josef Nadj and Tadeusz Kantor in its dark aesthetic, its strangeness, its radicalness: the artist takes the risk and awakens in each of the one hundred people watching, sitting comfortably and safe, a quest to erase the absurdity of the void. Mirror play in the ground and optical illusions (important elements of the show’s lighting), reinvented circus apparatuses, contortion, physical performances, raw movement…everything competes to make the solo a hypnotic, private affair.
Concept and performance Boris Gibé
Technical and set management Quentin Alart, Florian Wenger & Armand Barbet (alternately)
Light and sound management Olivier Pfeiffer, Romain de Lagarde & Andrea Bozza (alternately)
Staging Elsa Dourdet
Choreography Samuel Lefeuvre & Florencia Demestri
Set design Clara Gay-Bellile & Charles Bédin
Lights Romain de Lagarde
Sound creation Olivier Pfeiffer
Costume and textile design Sandrine Rozier
Violin Anne-Lise Binard.
In collaboration with Clara Gay-Bellile & Charles Bédin - associate architects, Quentin Alart - structural engineer, Clément Delage, Florian Wenger, Jörn Roesing - builders.
With the previous assistance of Alain Frérot, Andréa Bozza, Alexis Auffray, Armande Jammes, Bertrand Duval, Clara Charlie, Cécilia Delestre, Cille Lanssade, Gaël Richard, Gérard Naque, Ikram, Jean Camilleri, Kheira terbah, Marinette Julien, Molly Gruey, Pénélope Demma, Ranka Piffou, Richard Rivers, Sarah Pécout, Suzanne Péchenart, Samuel Bodin, Tiziano Lavoratornovi, Tristan Cola, Ueli Hirzel, Ulysse Lacoste.
Production Les Choses de Rien with the help of Si Par Hasard
Coproduction Boris Gibé is an artist working with Les 2 Scènes; Coopérative De Rue et De Cirque - 2r2c - Paris; Théâtre Firmin Gémier - La Piscine; Cirque Jules Verne - Amiens; Châteauvallon - scène nationale ; Espace Jean Legendre - Scène nationale de l’Oise - Compiègne
With the support of the French Ministry of Culture, DRAC Ile de France; DGCA; the Ile de France Regional Council; Fondation de la Tour Vagabonde; Lycée Eugène Guillaume de Montbard; SACD - Processus Cirque ; L’atelier Arts-Sciences, a partnership between L’Hexagone and the CEA in Grenoble Ass. Beaumarchais - Bourse Auteur de Cirque
Residencies La Gare – Marigny - le - Cahouet, CEA - Grenoble, 2r2c - Paris, Le Château de Monthelon - Montréal, Arts Printing House - Vilnius - Lituania, Les 2 Scènes - Besançon.
“A dizzying solo”. Télérama
“In life there are moments of grace in which wonder, gratitude and feelings of belonging to a poetic and exalted humanity are awakened. L’Absolu is one of those moments and one that you should not miss.” La Gazette
“We went without expectations. We saw a show that was absolutely incredible and beautiful.” Sparse.fr
Les Choses de Rien is an association that was created in 2004. It supports and produces Boris Gibé’s performances, in which choreographic language pushes the body to its physical limits. After creating the performance-installation Tripode (2015), the big top shows Le Phare (2006), Bull (2008), Les Fuyantes (2011), and the exhibition Mouvinsitu (in association with the play Bienheureux sont ceux qui rêvent debout sans marcher sur leurs vies, 2014), the company continues its search for an original artistic language that uses questions of movement to examine the nature and possibility of space.
This examination is built around both theatrical writing and acrobatic and aerial techniques from the circus. The dramaturgy is enhanced by the interactions between the different media that shape it (set design, sound, light, machinery).