By Carlotta Sagna
Choreography and text Carlotta Sagna
With Lisa Gunstone, Antoine Effroy and Carlotta Sagna
With the support of NEEDCOMPANY
The company Caterina & Carlotta SAGNA is supported by the DRAC Ile-de-France / Ministère de la Culture et de la Communication.
Duration : 50 minutes
Statement of intents
I would prefer it if people did not talk about form and content. They never exist separately; they merge and one becomes the other.
I try to blur the boundaries between the actor's craft and a certain spontaneous immediacy of the actor himself, to create a continual transition from representation to moments of truth and intimacy.
What I mean by truth is a quality of dramatic presence where all the masks and theatrical poses are gone: well-practiced timing, appropriate gestures, strategic positioning etc.
This is a kind of acting in search of sincerity and depth; you work on it and practice it and then arrive at spontaneous and perhaps clumsy moments, which might even throw you off track a little in a representational situation where the interpreter is never expected to show himself through the chain-mail of the role which he is incarnating.
In the same way I seek to rub out the boundaries between theatre and dance, since I think it is quite natural that people should communicate through words and gestures; we try to make it an art.
In the end the Theatre is a "place where dramatic works are performed", so above all it is a meeting-place.
I am an interpreter first, and a choreographer second.
In "A" I am trying to present actors/dancers as interpreters, which also means exposing the inconvenient aspects of that profession: their fear, their desire to please, to be liked by the audience, the euphoria of applause, but also their disarray immediately afterwards.
I am pretentious enough to believe that it is possible to extrapolate from the small world of the stage to life in general.
And I have tried to inject a little humour into the process.
I believe that when you are working on a show, your aim is not to say something, but to embark on a search.
In this scene the light is changing, constantly, imperceptibly.
It is rather like one of those windy days in Northern Europe.
The air is very clean, and clouds are constantly passing in front of the sun.
You are used to these changes of light and you no longer even notice them, but the reality is in fact very different; sometimes the contours are very clear and sometimes they are less so; at times blues and violets come out as if they were closer, and at others they move away and the warmer colours, the yellows and reds, attract your gaze.
There are areas of shadow that move across the set and you might imagine that they are following one of the dancers, but this is only a coincidence.
It is as if the light were created by factors that are external, foreign: a curtain being lifted, a door opening slightly, a cloud passing overhead, in other words a sudden moment of half-shadow, a wave of blinding light... We do not notice these big changes, but we experience the different atmospheres that they create...
I talked to them, I told them all kinds of things, intimate stuff, very personal.
I exposed myself to them, without any reserves, or hardly any.
And from them nothing, silence.
I didn’t ask them specific questions, but I at least expected some sign of approval, or, I don’t know, of complicity.
I felt as if they were present, with me, waiting.
They were not hostile, just inscrutable, like some sphinx can be: cold, icy, clinical, like rocks, standing stones.
Help me understand something here, give me a sign of life at least.
Talk to me…
L: Quite a sexy guy…
Have you seen his biceps?
C: Look at his thighs, they look like concrete.
L: Do you think he’s the same in bed?
C: What do you mean, like concrete? We should ask Anne or Claire.
L: We could also check ourselves.
C: He has a very soft side despite his muscular physique,
Shit, he’s a beautiful beast.
L: A wild animal.
C: He’s even sweating like an animal.
L: I do like the smell of sweat.
C: Have you tasted the nut pralines?
L: Do you think it’s good for the skin this thing he’s got on his
C: I don’t know, but I like it, it looks good on him, it gives him an
L: However, he’s a bit ridiculous, isn’t he?
C: In fact I like it when men are a bit ridiculous, I like it
when they are a bit clumsy, I find them more endearing.
L: That’s your maternal instinct waking up, I can assure you,
when a man, in bed, is skilful, he’s very endearing as well.
C: Anyway, Antoine is skilful and clumsy at the same time.
L: How do you know?
C: I mean… look, he’s built like a gladiator, and then, at
the same time, he’s extremely fragile.
L: No, wait a minute, there’s a difference between Antoine and