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Rouge dents
A hybrid form between theater and dance, Rouge dents traces the intimate itinerary of a teenager in search of her own body and prey to the injunctions of contemporary femininity. The piece is a reflection on the construction of oneself in the face of the dictatorship of the image.
Rouge dents is a two-voice, two-body monologue for a dancer and an actress. He deploys an intimate showdown, an inner tension between the desire to blend into the mold of the young and pretty girl and the increasingly pressing need to free oneself from it. Gwladys is in her room, facing her mirror, at the end of a trying day. She wore her brand new bright red sneakers to school, which she does not quite assume, which do not quite suit her, and suffered sideways glances and teasing during lessons and recess. She is sad, she is angry, she looks within herself for an escape route. What to do? Stand up to this red, merge with it to crush the mockers, or is it time to send everything to the wind and invent something else, another destiny, for herself?
The text borrows from the world of fairy tales (we come across Les Souliers Rouges, Le Petit Chaperon Rouge, Cendrillon) and from the codes of fashion and new icons who triumph on social networks or in reality TV shows, those called “it girls” or “influencers”, in an attempt to dismantle the mechanisms at work in this major seduction operation in which multinationals have embarked in order to exploit as much as possible the flaws of their targets teenage girls. It sheds light on the discourses with which young people, and more particularly young girls, are confronted daily and which tend to lay down the law on their bodies and their patterns of consumption in an attempt to reveal their violence and perversity. The character’s imagination has totally ingested, digested these alienating, totalizing voices, which resonate in his head constantly and without pity. But little by little, another path is opening up, that of a still poorly articulated but undeniably powerful struggle for the construction of one’s own self.
A tale on glossy paper, Rouge dents tackles the processes of instrumentalization and reification of female bodies and identities. The heroine violently rejects the models she believed in until then, those of the Woman-Product, to turn to the Wild Woman. She goes to meet her desires, her revolts, and reinforces her instinct of resistance to norms, her need for emancipation in the face of straight-jacketed roles and straightjacket mentalities in which the contemporary feminine is locked up.
A hybrid form between theater and dance, Rouge dents traces the intimate itinerary of a teenager in search of her own body and prey to the injunctions of contemporary femininity. The piece is a reflection on the construction of oneself in the face of the dictatorship of the image.
Rouge dents is a two-voice, two-body monologue for a dancer and an actress. He deploys an intimate showdown, an inner tension between the desire to blend into the mold of the young and pretty girl and the increasingly pressing need to free oneself from it. Gwladys is in her room, facing her mirror, at the end of a trying day. She wore her brand new bright red sneakers to school, which she does not quite assume, which do not quite suit her, and suffered sideways glances and teasing during lessons and recess. She is sad, she is angry, she looks within herself for an escape route. What to do? Stand up to this red, merge with it to crush the mockers, or is it time to send everything to the wind and invent something else, another destiny, for herself?
The text borrows from the world of fairy tales (we come across Les Souliers Rouges, Le Petit Chaperon Rouge, Cendrillon) and from the codes of fashion and new icons who triumph on social networks or in reality TV shows, those called “it girls” or “influencers”, in an attempt to dismantle the mechanisms at work in this major seduction operation in which multinationals have embarked in order to exploit as much as possible the flaws of their targets teenage girls. It sheds light on the discourses with which young people, and more particularly young girls, are confronted daily and which tend to lay down the law on their bodies and their patterns of consumption in an attempt to reveal their violence and perversity. The character’s imagination has totally ingested, digested these alienating, totalizing voices, which resonate in his head constantly and without pity. But little by little, another path is opening up, that of a still poorly articulated but undeniably powerful struggle for the construction of one’s own self.
A tale on glossy paper, Rouge dents tackles the processes of instrumentalization and reification of female bodies and identities. The heroine violently rejects the models she believed in until then, those of the Woman-Product, to turn to the Wild Woman. She goes to meet her desires, her revolts, and reinforces her instinct of resistance to norms, her need for emancipation in the face of straight-jacketed roles and straightjacket mentalities in which the contemporary feminine is locked up.
