There is some very intricate choreography work going on here. Every movement in this piece is meticulously timed. Movements are performed to precomposed soundtrack. No room for error. The soundtrack serves both as music and foley at the same time. We drift into a twilight zone of being very close to the performer, hearing the tiniest movements of the body, and being pushed into the very back of our seats by the smear of thick Badalamenti style butter sauce.
The perception of time is pushed out of its sockets. As the traveler is waiting for the journey to begin (which ultimately will lead into their very own stomach as we already know) the ship/host/travel agent, kindly asks to initiate a self-entertainment program which the traveler does.
The performer uses a camcorder. A video track pops in. Thanks to the meticulous timing of movements, the video appears to be filmed in real time, but is actually pre-produced. Glitches occur. Because nothing is really perfect, is it? This becomes even more obvious once the on screen performer starts to separate from the on stage performer — this is where the mentioned reproduction takes place. And here we are: the performer doubles. The person on stage is now able to actualize a second person on the video screen through their camcorder. Admittedly simple and even more — magic!
Atlantide Acide (excerpts, long version, from the Paris premiere 2023)
Press Echo
The piece was created in close colloboration with Eugenie Gaudel. Stage design is by Louise Mutrel. Construction by Jonnathan Marti. Costumes by Esther Helin Bienroth.
The piece was produced by Festival Musica and La Pop, Paris. It was premiered in December 2023 and performed three nights in a row. A concert version came out of it, too: CRUISE.
Please find the Dossier hosted by La Pop, Paris: Atlantide Acide chez La Pop