Histoire de l'imposture

Everything is navigated under false pavilions, as Kafka said, and the “characters” in the performance are the first to testify to this. By ironizing a perfect adaptation of the artifice of social postures, the role-play and conformist norms that shape us

Everything is navigated under false pavilions, as Kafka said, and the “characters” in the performance are the first to testify to this…   By ironizing a perfect adaptation of the artifice of social postures, the role-play and conformist norms that shape and lead us (today perhaps more than ever) into borrowed personalities. Time hasn’t changed the situation, meaning the whole story is recyclable in our world of appearances and formatted truths.

The performance also evokes the feeling of not being one with one’s intentions and desires, of not embodying one’s own self, of feeling constantly partitioned and pretending to live while not being in one’s right place and of being finally, an imposter…

How to escape such a problematic?  How to break out of a resemblance, out of what’s false or what is approximative, of what’s borrowed and ambiguous?  Perhaps by letting oneself be possessed and carried away by the kind of savage energy that liberates the “characters” from that which is nothing more than a human comedy – and which overflows from them:  outside and beyond themselves, their doubts and their small impostures without history…

Credits

Concept and direction Patrick BontéChoreography Nicole Mossoux, Patrick BontéPerformers Sébastien Jacobs, Leslie Mannès, Frauke Mariën, Maxence Rey, Marco TorriceMusic Thomas TurineLight Patrick BontéCostumes Colette Huchard, assisted by Patty EggerickxCostumes fabrication Isabelle Airaud, Nalan Kosar, Catriona Petty (interns: Marie Dohet, Pauline Miguet)Make up Véronique LacroixHairdressing Fyl SangdorSet Didier PayenSet construction Olivier Waterkeyn, Max La RochePainting of the set Eugénie ObolenskiCouture of the set Sylvie TevenardTechnical direction David JansDirection assistant Céline Ohrel

Production: Cie Mossoux-Bonté, in coproduction with Charleroi Danses – Centre chorégraphique de la Fédération Wallonie-Bruxelles (Belgium), La Rose des Vents – Scène nationale Lille Métropole, Villeneuve d’Ascq and Théâtre Paul Eluard – Scène conventionnée, Bezons (France). 

With the support of Théâtre Varia, Brussels