Vif du sujet (Le) : Skull*Cult

In 2002, as part of “Vif du sujet”, Rachid Ouramdane, dancer, performer and choreographer himself, called in one of his partners in creation, Christian Rizzo, brilliant jack-of-all-trades who also used to be his interpret.

In 2002, as part of Le Vif du Sujet – an event initiated by the Société des Auteurs et Compositeurs Dramatiques (SACD: Society of Dramatic Authors and Composers) to allow dancers to commission a solo from a choreographer of their choice –, Rachid Ouramdane, a dancer, performer and choreographer himself, called on one of his creative accomplices, Christian Rizzo, an awesome all-rounder who was also his interpreter. With a background in plastic arts before coming to the music (rock) scene, followed by dance and performance, Rizzo combines with his various stage practices the conception of “objects” or installations and the creation of costumes. Yet, while he cultivates multi-disciplinarity, one issue is at the core of all his works: the body and its transformations… through to that final transformation that is death and disappearance. Thus, in Skull*Cult, Ouramdane appears from behind, clothed, booted, gloved, helmeted, hooded in black, that is under the envelope – that we suspect disembodied – of a biker. From one side to another of a bare stage, bent over in the distance like a wave, he carries out a slow and uncertain crossing that is also a crossing of appearances, a rite of passage. In 2005, the two artists returned to this tragic figure – Rizzo in Comme crâne, comme culte and Ouramdane in Les Morts pudiques, his new interpretation of Le Jeune Homme et la Mort.

Source : Myriam Bloedé