Artistic file

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LISA
Compagnie Arcosm
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$XGLHQFHDLPHGDW | 10 and up
&DSDFLW\ | school : 400
&DSDFLW\ | general public: open
$UWLVWLF 'LUHFWLRQ : Thomas Guerry – Camille Rocailleux &RPSDQ\ PDQDJHU : Bertrand Guerry
&RQWDFW Bertrand Guerry | [email protected] -­ + 33 (0)6 84 62 08 85
Bo oking -­ [email protected] -­ www.mitiki.com
LISA
DANCE, MUSIC
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Thomas Guerry and Camille Rocailleux
&$67 'DQFHUVThomas Guerry, Aline Braz Da-­Silva, Sébastien Cormier, Anne-­
Cécile Chane Tune, Éléonore Guisnet-­Meyer
3HUFXVVLRQLVWCamille Rocailleux, Quentin Allemand
/\ULFDOVLQJHU Romie Estevès
/LJKWLQJGHVLJQ Olivier Modol
6RXQGGHVLJQ Christian Hierro
&RVWXPHV Atelier Bonnetaille, Charlotte Pareja, Florinda Donga
Lighting manager : Eric Citony
Sound manager :2OLYLHU3¿HIIHU
7($0217285 -­ SHRSOH 4 dancers
2 percussionists
1 lyric singer
1 set and lighting manager
1 sound manager
1 tour manager
6<1236,6 The curtain opens.... Various persons on stage, resolved and frenzendly walking. A vain unrest seems to have contaminated this crowd. Bodies bang together but do not look each other.
All of a sudden, a petrifying cry interrupts this unsensed ballet. This cry is Lisa’s. Multifaceted child-­like woman she permanently lives in a daydream, the sole way she founded to survive in reality. A world of which she doesn’t understands neither the rules nor the sense.
Coproduction : Le Service Culture du S.A.N de l’Isle D’Abeau -­ Théâtre du Vellein, Villefontaine -­ DRAC Rhône Alpes -­ Région Rhône Alpes -­ Le Crea/Festival Momix, Kingersheim -­ Ville de Lyon -­ Mitiki.
With the support of : Maison de la Danse de Lyon -­ Maison de la Culture de Nevers et de la Nièvre -­ Le Croiseur, Lyon.
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| LISA
SYNOPSIS T HE ARTISTIC DIRECTORS TALK ABOUT LISA PAGE 4
PAGE 4
| ABOUT THE ARCOSM COMPANY
SHAKING AND BREAKING THE WALLS WITHOUT SEPARATING ECHOA -­ 2001 LISA -­ 2006 LA MÉCANIQUE DES ANGES -­ 2007 TRAVERSE -­ 2010 SOLONELY -­ 2012 ARCOSM’S WORKSHOP PAGE 6
PAGE 9
PAGE 9
PAGE 10
PAGE 10
PAGE 11
PAGE 11
| BIOGRAPHIES
THOMAS GUERRY CAMILLE ROCAILLEUX ARTISTIC TEAM BIOGRAPHIES PAGE 12
PAGE 13
PAGE 14
| PRESS REVIEW / CONTACTS
PRESS REVIEW CONTACTS PAGE 17
PAGE 18
LISA
SYNOPSIS
T
he curtain goes up. Characters are moving on stage, wandering frenetically. Their bodies jostle but do not look at each other. Their insane ballet stops when Lisa suddenly starts screaming. She is a child-­like-­woman who tries to survive reality whose rules and sense she does not understand, by projecting herself in a fantasy world.
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voice. Will she succeed? Will this anarchy become euphony or a cacophony? Will this crowd keep its untidy wandering? Can it become a splendid ballet? Eventually, this anonymous and shapeless group will HYROYH LQWR D PXOWLSOLFLW\ RI GH¿QLW DQG
skilled characters. Thanks to her voice, she led the concert that bodies and sound create when they unlikely meet.
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hether she screams like a new born or lulls like a mum she takes the audience in her world which she stages and orchestrates as she wants. Arts, feelings and emotions meet, mix, and shake up in her universe.
Thus, a quarrel between two people will become an extremely intense choreo-­
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lenge each other. Actually, it will become any artistic form mixing instrumentalist’s gesture and dancer’s musicality (dance and music languages).
Lisa’s world is full of the emotions of reality: it mixes radiant beauties with cracks and paradoxes. Blissful joys and irrational hatreds of the material world are trans-­
posed in Lisa’s universe, distortingly echo in Lisa’s, thus becoming a musical and danced language constantly progressing and alternating realism and phantasmago-­
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4
LISA
T HE ARTISTIC DIRECTORS TALK ABOUT LISA
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e saw the relationship between the instrumentalist’s body ODQJXDJH DQG WKH PXVLFDOLW\ RI FKRUHRJUDSK\ IRU WKH ¿UVW
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away from the traditional use of each artistic domain and explore new ways to perform each one equally on stage.
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he instrumentalist’s gesture is at the root of this artistic approach. We considered it apart from its musical context, and it became REYLRXV WKDW LW FRXOG EH WKH ¿UVW IDOWHULQJ VWHSV RI D FRPPRQ ODQ-­
guage between the two universes. Dancers could appropriate it, use it to enrich their art and explore it. Then musicians drew their inspi-­
ration from bodies’ musicality and breath rhythmicity which changed completely the approach of their instruments.
The main goal of the creators of the show was to “see music and hear dance”, blurring boundaries between the two artistic domains: which one did initiate the other? Did moves come from music or did they create music?
W
ith Lisa, our aim is to go further in this approach. We want to know how far these two universes can interpenetrate themselves in order to create a new world.
Lisa is child-­like woman, femme fatale, or mother-­like woman in turn. Bodies and instruments will make themselves heard through her visions, her dreams and her fantasies. She holds the score of this idealised world.
The interaction on stage between the characters will lead to situa-­
tions sometimes funny or nostalgic, inspirations of our everyday life offbeat or theoretically played. We chose to stage 7 very different artists in order to multiply the possible exchanges between music, dance and singing. It enables us to draw away from Lisa’s oniric world to get closer to the musicals or vocal polyphonies thanks to a training based upon the voice and its different forms (singing, rhythms, onomatopoeia and breathing.)
Thomas Guerry et Camille Rocailleux
5
ABOUT THE ARCOSM COMPANY
ABOUT THE COMPANY
T
he Arcosm company was created in 2001 and is currently co-­directed by Thomas Guerry, a dancer and choreographer and Camille Rocailleux, a percussionist, pianist player and composer.
The company main objective is to build bridges between different artistic disciplines and languages;; music, dance and singing are the root of this artistic approach. The main elements of the human voice (rhythm, melody, timbre and tone) are closely linked to the musical world, and give vividness and theatricality to the characters.
The artists are required to use their personal skills and competences but also to explore less-­fa-­
miliar areas of artistic expression. Combined with highly-­mastered techniques, these new ways of expression create the sensitive and emotional breaks the company is looking for in order to achieve its artistic aims.
SHAKING AND BREAKING THE WALLS WITHOUT SEPARATING
C
uriosity is at the heart of our artistic approach, it enables us to bring together areas of expression which are usually distant from each other. We do not intend to conform to the recognised rules. Our wish is to broaden the artistic perspective without following a pre-­establish vision.
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Both of us are intimately involved in the creation of the shows. From the start, we shared the idea that music and choreography could not be considered apart. Just as music could not be a mere DFFRPSDQLPHQWFKRUHRJUDSK\ZRXOGQRWEHXVHGWR¿OOWKHHPSW\VSDFHVOHIWE\PXVLF
Thomas Guerry et Camille Rocailleux
6
ABOUT THE ARCOSM COMPANY
E CHOA
&UHDWHG November 10th of 2001 -­ Scène Nationale d’Angoulème
On stage : 2 percussionists and 2 dancers
+ 6 years old
Multiple act show in which dancer’s sonority and percussionist’s dancing gather and merge alto-­
gether. A way to see music with a brand new eye and to listen to dance with brand new ears.
7RXUV close to 800 shows in 200 different places in France and abroad (Poland, Scotland, Japan, Germany, South Korea, New-­Zeland, Ciprus, Danemark, Norway, United-­States…).
&RSURGXFWLRQ Théâtre Villeneuve-­lès-­Maguelone, Scène Conventionnée Jeune Public en Languedoc Rous-­
sillon -­ Mitiki.
:LWKWKHVXSSRUWRI Maison de la Danse de Lyon -­ La Scène sur Saône – Le Croiseur, Lyon.
LISA
&UHDWHGNovember 6th of 2006 -­ Théâtre du Vellein
On stage : 3 dancers, 3 musicians, the lead character is held by a lyrical singer
+ 10 years old
Lisa doesn’t understand the world she lives in. Thanks to the gift of her voice, she adapts reality to her feeelings. She stages this bodies’ and sounds’ concert, laughing about paradoxes and orchas-­
trates a meeting in which arts are jostled.
7RXUV more than 100 show in 40 different places
&RSURGXFWLRQ Théâtre du Vellein, Villefontaine -­ DRAC Rhône Alpes -­ Région Rhône Alpes -­ Le Crea/Festival Momix, Kingersheim -­ Ville de Lyon -­ Mitiki.
:LWKWKHVXSSRUWRI Maison de la Danse de Lyon -­ Maison de la Culture de Nevers et de la Nièvre -­ le Croiseur, Lyon. 7
ABOUT THE ARCOSM COMPANY
LA MÉCANIQUE DES ANGES
&UHDWHGNovember 12th of 2009 -­ Théâtre du Vellein
On stage : 1 lyric singer, 1 metal rock singer, 1 actor / singer, 2 dancers, 1 percussionist, 1 double-­bass player, 1 pianist.
+ 12 years old
The relation we have with our image and the others’, UHÀHFWHG E\ PLUURUV OHDGV XV WR SDVV RYHU RXU FRPPRQ
ideas of aesthetics and narcissism. How do we use this relation to pass over our link to the world? How do we use it to improve ourselves?
7RXUV 23 shows in France and in Italy.
&RSURGXFWLRQ Théâtre du Vellein, Villefontaine -­ Maison de la Danse de Lyon -­ La Clefs des Chants -­ la Rampe d’Echirolles -­ Le Crea/Festival Momix, Kingersheim -­ Mitiki.
:LWKWKHVXSSRUWRI Le Toboggan de Décines -­ DRAC Rhône-­
Alpes -­ Région Rhône-­Alpes -­ SPEDIDAM -­ ADAMI.
T RAVERSE
&UHDWHGJanuary 10th of 2010 -­ Théâtre du Vellein
On stage : 1 dancer, 2 percussionists and 1 mime
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shelter in is secret imaginated garden. As long as he takes breaks, he sows small dreams’ seeds. As they are growing up, they will get in his reality, seizing up his clockworked daily life.
7RXUV 136 shows on 35 stages in France, Luxem-­
burg, Germany, Norway and Scotland.
&RSURGXFWLRQThéâtre du Vellein, Villefontaine -­ CAPI l’Agglo -­ SPEDIDAM -­ TRAFFO_Carré Rotondes -­ Le Crea/Festival Momix, Kingersheim -­ Mitiki.
:LWKWKHVXSSRUWRI DRAC Rhône-­Alpes -­ Région Rhône-­Alpes -­ Ville de Lyon -­ Custom 77 -­ didascalie.
net -­ Le Croiseur, Lyon.
8
ABOUT THE ARCOSM COMPANY
SOLONELY
&UHDWLRQGDWHNovember 8th of 2012 -­ Le Toboggan
On stage : 2 dancers
General public
Two men, apparently having nothing in common, and with no conscious connection, get closer thanks to a deep suffering which cornes them in a thick loneliness. Open wounds, alinating anxiety... an ill-­feeling which is killing them little by little. They don’t know it yet, but they are complementary to each other. They are powerless alone. Together, they wille be able to do a lot.
&RSURGXFWLRQ Théâtre du Vellein, Villefontaine -­ Le Dôme Théâtre, Scène conventionnée d’Albertville -­ Maison de la Danse de Lyon -­ Le Théâtre de Laval -­ Le Polaris -­ La Rampe d’Echirolles-­ Le Grand Angle de Voiron.
:LWKWKHVXSSRUWRI DRAC Rhône-­Alpes -­ Région Rhône-­Alpes -­ Ville de Lyon -­ Mitiki.
ARCOSM’S WORKSHOPS
The ARCOSM company thinks transmission as vital into the arts sphere. Inspired by the artists’ preparation to ARCOSM’s shows, the workshops aim at increasing trainees’ awareness to arts disci-­
plines gathered into the company. Workshops insist on the strong relation between arts disciplines: percussions, dancing, mime, etc.
Workshops, thus, underline the multidisciplinarity of arts, offering various kind of exercices that are based on body rythm, musics’ choreography and breath taming. Workshops are adapted to school kids as well as dancing and music students trained in conservatories. 9
ARTISTIC DIRECTORS BIOGRAPHIES
T HOMAS GUERRY
C HOREOGRAPHER / DIRECTOR
Thomas Guerry was born in 1978. He graduated from the Conservatoire National de Région de Lyon, then from the Conservatoire National Supérieur de Musique et de Danse de Lyon. He impro-­
ved his training with Odile Duboc, Fabrice Ramalingom, Hélène Cathala, Betty Jones etc.
He joined the Skanes Dance Theatre in Sweden in 1999. He danced in Meublé Sommairement (2000) and in Matière Première (2002), produced by the association Les Carnets Bagouets;; in Les allées et Venues (2000) and Dehors (2002), produced by La Veilleuse/Christine Jouve Co. He danced with Bernard Glandier in Le Roi des Bons, Thomas Lerbrun in On prendra bien le temps d’y être, in 2001, La Trêves in 2004, What you want in 2006 and in Switch (2007).
He founded the Arcosm Co in 2000 with Camille Rocailleux and created (&+2$ in November 2001. He took part in the choreography of the performance Carnets de notes for the Odysee Ensemble (2003). He choreographed the solo for the State Diploma with Sylvie Giron.
In 2006, Camille Rocailleux and he created the show LISA for the Arcosm Co. Two years later, he was invited by the association Les Carnet Bagouet to stage again for Les Ballets de Nancy another play of their repertoire: Les petites pieces de Berlin. The Ensemble Odyssée Co also called him to stage their new show Le concert interdit.
In 2009, Rocailleux and he started the new show to be produced by the Arcosm Co: /D0pFDQLTXH
GHV$QJHV. In 2011, he creates the play 75$9(56(. Thomas actually works on the creation of the show 62/21(/< (opening nights in novembre of 2012).
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phic experience can be seen through the sharp vision of the destruction of main character’s body.
10
ARTISTIC DIRECTORS BIOGRAPHIES
C AMILLE ROCAILLEUX
C OMPOSER / DIRECTOR
First prize at the Conservatoire National Supérieur de Musique et de Danse de Lyon.
He co-­founded the ARCOSM comany with Thomas Guerry in 2000. This step marked the begining of a important artistic work and the creation of 4 dancing and musical play : (&+2$ (2001), LISA (2007), LA MÉCANIQUE DES ANGES (2009) and 75$9(56( (2010) which keep on evolving WKURXJKQDWLRQDODQGLQWHUQDWLRQDOWRXUV+HDFWXDOO\SUHSDUHVZLWK7KRPDV*XHUU\WKHLU¿IWKFUHD-­
tion 62/21(/< (opening nights in novembre of 2012 at the Toboggan of Décines).
Camille contributes to various artistes and bands: : National Symphonic Orchestras of Lyon and Toulouse, The Opéra National de Lyon,
The Orchestre Philharmonique du Luxembourg (Chamber Music order for « Dance010 »),
The actor and storyteller Yannick Jaulin, composition of musics and shows : J’ai pas fermé l’œil de la nuit, Menteur, Terrien, Le dodo, Conteur? Conteur …,
7KH¿OPPDNHUV-HDQ3LHUUH/OHGR*LOOHV3RUWH*DsO0RUHORULJLQDOVRXQGWUDFNVRILe Clan, New Wave, Notre Paradis),
The singer Daphnée (Prix Constantin 2007), production of her album L’Émeraude, artistic contribu-­
tion with Benjamin Biolay and the pianist Gonzales, contribution to the album Carmin,
The singer Camille (Body-­percussionnist and choir singer ring the wordlwide tour – Music Hole Tour),
The beat boxers Ezra and L.O.S. (Bionicologists project). The Jérôme Savary company (solo of Mona Heftre in the play Albertine). Stage directors Laurent Brethome (Projet « H »), Dominique Lardenois, Yves Beaunesne (Pionniers à Ingolstadt, L’Annonce faite à Marie).
11
ARTISTIC TEAM BIOGRAPHIES
A
nne-­Cécile began to learn ballet dance when she was 6. At 17, she entered the Conservatoire National Supérieur de Musique et de Danse de Lyon, and joined the contempora-­
ry dance class. Following this 3-­year-­training which enabled her to meet some choreographers, she decided to move to Brussels. In order to integrate the Belgium dance world, she integrated the Passerelles program which offers professional training for 9 months. Then she danced as a stand-­in artist in the Ultima Vez Co’s show Blush;; she performed in some Mat-­
téo Moles Co’s creations (like Gadget, still on tour) and the Animae Corpus Co with Thibault Le Maguer for the creations Pellis and Samsara thanks which to she discovered Indian music and its richness.
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Dancer
Félicette Chazerand and the Parcours Co invited her to join the creation team of A l’ombre des arbres. After that, she joined the Arcosm Co and danced in Lisa, the show created by Thomas *XHUU\DQG&DPLOOH5RFDLOOHX[ZKRVHJRDOZDVWROHDGDUHÀHFWLRQRQUK\WKPPXVLFDOLW\DQGGDQFH
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Arabic traditional musicians entitled Sadhana. In 2007, she discovered the Axis Syllabus method and decided to join regularly Baris Mihci’s classes to take part in the training course organised once a year by the Nomadic College. She is currently still on tour for Lisa and A l’ombre des Arbres, and works as an artistic director on the Espace Temps Recherche plan to bring dance to the street. She also teaches at the Espace Catastrophe. These experiences have enabled her to meet important professional artists with whom she might work for she doesn’t whish to create her own company. She aspires to develop her vision of dance as an integral part of Art through the study of move-­
ments and other ways to express life.
T
rained to contemporary dancing by Claude Béatrix at the Centre de danse de Bayeux, Aline Braz da Silva has been awarded of various international prizes (Biarritz Contest, Nyon-­Genève, FNID Paris, …). After a training session at the EPSE-­Danse in Montpellier, she gets enrolled at the Conservatoire National Supérieur de Musique et de Danse de Lyon while following aside her personal training by taking clinics in Paris, New York, London, Toulouse, Montpellier and Geneva. She was part of the cast of, En Somme, created by Marion Lévy and Fabrice Melquiot, at the Théâtre National de Chaillot. Then she joined the Etantdonné company and danced in 2 shows (La vitrine and Imago Opus 2 : La théorie du $/,1(%5$='$6,/9$ 2). She joined Arcosm company in 2009, dances in /D0pFDQLTXHGHV
Danseuse
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12
ARTISTIC TEAM BIOGRAPHIES
B
orn in 1978 in Barcelonnette. Ballet student of Mireille Leterrier at the Conservatory of Gap, Sebastien entered the modern dance section of the Conservatoire National Supérieur de Musique et de Danse de Lyon in 1996. After these three years of studying princi-­
pally with Corinne Duval-­Métral and Thomas Enckell, as well as Syl-­
vie Giron, Sophie Lessard, Odile Duboc, Betty Jones et Fritz Ludin he was able to persue his career with various choreographers: Nadège MacLeay for Conversations in 2000, Tales of Water (2001) Le Tracé de Pinceau 2002-­03, L’empereur et le carreau de faïence (young pu-­
blic’s piece in 2004). In 2001 he joined the company Propos (Denis Plassard) for L.O.U.P. and then for Discours in 2003.
The discovery of “integrating dance” during a workshop given by Adam Benjamin in 1999 was continued with the CanDoCo Company in London in 2001. In 2003 he participated in a project in which the objective is to bring art to the hospital.
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(in alternance) Dancer
He developped experimental workshops for the Center of Physical and Reeducational Medicine in %DXPHV,QKHIRUPHGWKHDVVRFLDWLRQ$PDOJDPHDQGLVLQWKHSODQL¿FDWLRQRIMargo. He joi-­
ned Arcosm Co in 2005 and danced in (FKRD and /LVD.
R
omie, mezzo soprano, was trained by Lionel Sarrazin. Following her musicology, dancing and lyrical singing studies at the Conser-­
vatoire de Bordeaux, she joins the Arcosm company in 2006. /LVD LVWKH¿UVWRFFDVLRQIRUKHUWRSOD\DGDQFLQJDQGVLQJLQJFKDUDFWHU
Since 2006, she regularly acts in productions and shows of the lyri-­
cal company Opéra Bastide.
The same year she was drafted by the company Tre Fontane, which plays baroque and Arab-­Andalusian music. With the creation Les belles excentriques in 2007, she goes into details the disciplines’ dialogue, mixing drama to voice and motion.
In 2008 she sings songs from Rossini and Mozart at the Amphithéâtre de Pont de Claix, directed by Michel Belletante. In June 2009, she 520,((67(9(6
plays Carmen by Bizet, directed by Dominique Sourrisse. She will Chanteuse lyrique
play it once again in Decembre 2009 in a singing-­stage version by Garonne. In Octobre 2009, she is the second lady in the Flûte enchantée, directed by Jean François Gardeil, produced by Chant de Garonne. In Octobre 2010, she plays Dorabella in Cosi Fan Tutte by Mozart, directed Jean François Gardeil, produced by Chant de Garonne. In 2010 she collaborates to a creation, Antigone (Ismène) directed and composed by Gilles Colliard, chef d’orchestre of the Ensemble de Musique de chambre of Toulouse.
13
ARTISTIC TEAM BIOGRAPHIES
B
orn in 1979, she was trained at the Conservatoire Na-­
tional Supérieur de Musique et de Danse de Lyon. She was trained by Odile Duboc, Yvan Alexandre, Ulyses Alvarez, Christian Bourigault, Sophie Lessard, etc. From January until June of 2000, she took clinics at the Centre Chorégraphique national de Montpellier with Mathilde Monnier. In October of 2001, she joins the Sylvie Guillermin company (Instrumen-­
tarium, Chants de course, created March 2003). In Novem-­
ber of 2001, she danced in (FKRDWKH¿UVWVKRZRI$UFRVP
company. She danced with choreographers Marina Blandini e/e2125(*8,61(70(<(5
(en alternance) Danseuse
and Gaetano Battezato (Theatri de Vento) during La Biennale de la Danse in Lyon in September of 2002 and collaborated to Renatus Hoogenraad’s creations (Il Venti, December 2002 ;; Bang Bang, December 2003, Kurtwel-­
len, April 2004). In January of 2005, she works with Sylvie Guillermin, on the creation Jardin, and with the Archaos company (Parallèle 26). In 2006, she plays in the new creation by the Arcosm company, /LVD She eventually created the choreography of the solo in Lulu et la malle aimée.
B
orn in 1977, Quentin had been studying harmonica since he was 6, then he learned percussions, trumpet and electroaccoustic music. He garduated with honors in 1995 and got the percussions Médaille d’Or in 1997. He studied in the Conservatoires of St-­Etienne, Clermont-­Ferrand, Strasbourg and Grenoble.
Found of musical theatre in which he can develop his multi instrument player gifts, he created with Sylvain Bertrand Dialogue de sourds, which had be awarded of the second prize in the 1998 European Musique d’En-­
semble Contest. He took over a role in 2004, in a Quartet Ku company show (percussions, musical drama). From 1999 to 2006, he played on ski tracks, streets and in other unusual places with Grille Pain, a humoristic quartet. He collaborated also with the Théâtre du Grabuge on the play Platon et L’odyssée d’Homère in 2004 and Odyssées in 2007. Since 1996, he is regularly demanded by the Orchestre Symphonique of St-­Etienne.
48(17,1$//(0$1'
Percussionnist
In contemporary music, he is member of the band Pain d’Epices from 1999 to 2006 in which he played drums, percussions, bugle but also sang and danced. He recorded with the band, De travers and L’orthophone. All along his professional experiences, he regularly worked on the links between dance and music. In 1996, he created Triologie, a tap dance with percussions with his brothers Guillaume and Nicolas Allemand. In 1999, with the Hip-­Hop company Aca, he co-­created and played with Ba Cissoko and Bardede Hegga the music of the show Passerelle by Bouba Landrille Tchouda and Habib Adel. He joins the Arcosm company in 2006 for the creation of the show /LVD. He also works on a regular basis with the Propos company since 2008 for Denis Plassard’s Débatailles.
14
PRESS REVIEW
« $FRPSRVLWLRQZKLFKWXUQVRXWWREHEOD]LQJUHGKDYLQJGH¿QLWHO\WDNHQRYHUJUH\IROORZLQJWKH
example of a lyrical musical comedy. »
/D9RL[GX1RUG2FWREHUWKRI
« [...] an impressive lighting and sound management which makes one seeing this show through a magical prism. »
/H'DXSKLQp/LEpUp$SULOWKRI
« In short, this musical comedy of a new kind, is all about laughing, crying, emotions, and is after all a nice lesson. »
/H3D\VGH)UDQFKH&RPWp-DQXDU\stRI
« The play is energic, full of surprising and interesting ideas. Punctuated with fantasy moments, it is made from an easily readable narration. All these elements contribute to make this show likable which as a good working and which is particularly easy to understand. »
/H3RSXODLUHGX&HQWUH-DQXDU\stRI
« The Arcosm company explores here ludic interactions between dancing and music, merges bur-­
lesque situations, lyrical singing and percussions, tap dancing and music-­hall in lively and liven up short scenes which will seduce youth and adults alike. A delightful and creative show. »
/D0DUVHLOODLVH'HFHPEHUWKRI
« How to class this show? Dance, contemporary music, or lyrical poetry? That is the full success of the Arcosm company. »
/HV7URLV&RXSV±'HFHPEHUWKRI
« Result is : a mind-­blowing show, with no timeout, which mentions the hectic and dark rythm of RXUGDLO\OLIHLQDXQLIRUPZRUOGLQZKLFK/LVDWKHVLQJHU¿QDOO\LPSRVHVKHUIDQWDV\DQGKHUKXPD-­
nity [...] for our greatest pleasure. »
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« Captivated, young and grown ups strongly applaused « Lisa » which has touched everyone’s sen-­
sitivity through this show.. »
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« A remarkable show which deeply merges dancing, musics, voice and in which artists go from one discipline to another with no possibility to identify who is a dancer and who is a musician. »
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« 8QFODVVL¿HG/LVDFRPELQHVGDQFLQJPXVLFDQ\NLQGRISHUFXVVLRQVDQGVLQJLQJLQDXQLTXHDQG
fascinating setting full of bouncing and humour. The originality, the precision and performance of the work of the seven artists leaves the spectators open-­mouthedh ! »
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