2024-03-11 15:01:02
– Exquisite corpse of a hallucination
With “Je suis la nuit”, Céline Goormaghtigh and her actors create the ideal conditions for a migration of souls, between madness and theater. A very nice surprise!
Posted today at 4:01 p.m.
Marc-André Müller, Vincent Babel and Hélène Cattin, graceful puppets whose strings are pulled by the real world.
ISABELLE MASTER
The room sheet, the press kit, all the documentation surrounding Genevan creation “I am the night” emphasizes the origin of the project. Namely that the actress Céline Goormaghtigh crosses the mirror, going from acting to directing, to adapt the homonymous graphic novel, published in 2021 by his cousin. In her story, Leyla Goormaghtigh transposes without filter the hallucinatory episodes that she herself experienced during manic attacks caused by her bipolar disorder.
Direct contact with an attic object triggers the poetic alienation of a protagonist divided into three bodies.
ISABELLE MASTER
We are obviously sensitive to the desire to document the symptoms of a mental illness little known to the general public. Especially since the exploration of the boundaries between “normality” and “madness” always provides a powerful basis for the narrative. But on a theater stage, where the contours of the self are undermined, where pretense plays hide and seek with verisimilitude, delirium is by nature at home. Well sheltered in a home that reflects his image.
The bowl of peanuts held by Vincent Babel alone provides cheeky comic relief in “Je suis la nuit”.
ISABELLE MASTER
In a scenography of odds and ends (Pietro Musillo), Céline Goormaghtigh first has the intelligence to split her haunted protagonist into three, distributing her facets to formidable local actors: a mischievous Hélène Cattin, a prankster Vincent Babel and a more fierce Marc-André Müller. The trio only unfolds its surrealist exquisite corpse by physically coming into contact with the objects in its environment: that a lamp or a suitcase thus triggers speech is the second excellent discovery of the proposal.
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With a richly illustrated text that zigzags from Frida Kahlo to Gérard de Nerval, from Marie-Madeleine to Mao or from Woody Allen to Rimbaud before ending in the asylum, the show finally intertwines pretty choreographed snippets: ghosts and fragments of identity print their effect stroboscopic. The (dis)possessed body, like any other body, has access to grace and harmony. As for the spectator, both the actor and the madman invite him to participate in the great adventure of metempsychosis.
Katia Berger has been a journalist in the cultural section since 2012. She covers current events in the performing arts, particularly through theater or dance reviews, but also sometimes deals with photography, visual arts or literature.More ‘info
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