Le Bal des Intouchables

Sous le chapiteau, le spectacle s’ouvre sur une drôle d’entrée en scène qui augure bien de la notion d’intouchable. Au fil du spectacle, c’est une symphonie des possibles que donnent à voir les artistes, tant ils déjouent ce qui semble à priori impossible

Under the big top, the show opens with a funny kind of introduction that augurs well for the notion of untouchable. In the course of the show, the artists reveal a whole symphony of possibles as they outwit anything that at first appears impossible. To begin with, the group forms a procession, then, little by little, each person delivers their score, escapes from the group, steals away to the heights, takes the risk of freedom and falling, to better return to the others with new gestures to offer.   

The unique destiny of Antoine Rigot is at the centre of the piece, but this time with a new impetus, reboosted by this immersion within an artistic team expressing through solos, duos, trios and reunions, the features of vitality, malice, cruelty, dreams, failures, insolence, risk, virtuosity, generosity, wisdom… 

Frequently burlesque, le Bal des intouchables introduces eight characters, young and old, light and disabled, agile and fragile. What is given is received, the fall is never far from the rise, success from solitude, and vice versa. Les Colporteurs have succeded in linking gesture to emotion and in evoking the mastery of art and the transmission of experience. The musicians participate fully in the overall dramaturgy, in turn players on the stage or accompanying the piece from the side. Their role is to help tighten a solid thread within the act. 

This creation is the result of work around the discovery of oneself and others, and the attempt to assume the differences that govern, separate and bring us together. Freeing itself from all stereotypes, the show praises the chosen prowess and the poetry of slow gestures. 

Source: Extracts from a text by Claudine Dussollier, September 13th, 2012