In Dijon, the Theater festival in May is changing and comes out looking brand new. This spring meeting has always been an important milestone in the theatrical landscape, since its creation in 1990 by François Le Pillouër. Today, it is renewed under the leadership of Maëlle Poésy, who makes her first festival the founding act of her management of the Dijon-Bourgogne-National Dramatic Center, which she took over in January.
Maëlle Poésy does not break with her predecessor, Benoît Lambert. But it applies on its paw, by opening the festival more widely on the international scene, on the territory of the city of Dijon and on multidisciplinary forms. “Today’s scripts are artists who write on stage in multiple ways, with abundant inventivenessdoes she notice. I also wanted there to be a real diversity of choice between documentary forms and more poetic forms, which transcend our reality. We need more than ever, at the moment, the space for dreams and the imagination that art brings. »
Without it being claimed as such, this first Poésy-style festival is also very feminine and feminist. We are no longer, here, trying painfully to achieve gender parity through DIY and postings. Most of the projects of this Theater in May are led by female artists, whether they are authors, directors, choreographers or circus performers.
Until May 29, we can see performances by the Dutch choreographer and performer Roshanak Morrowatian, the author-director Tamara Al Saadi, or Chloé Moglia, the artist who explodes the boundaries of the circus. Not to mention the recreation of a cult show by the queen of iconoclasts, the Belgian Miet Warlop. Maëlle Poésy, she has chosen a creation outside the walls, in the open air, with Glory on earth, a text in which the Scottish author Linda McLean examines the figure of Marie Stuart. On the men’s side, the guest artists are not completely unknown, since it is Tiago Rodrigues (with his choir of lovers) and David Geselson (with silence and fearpiece inspired by singer Nina Simone).
The great Norwegian puppeteer Yngvild Aspeli opened the ban with “Dracula Lucy’s Dream”, her take on the vampiric myth
The four opening shows were also performed by female artists. The great Norwegian puppeteer Yngvild Aspeli opened the ban with Dracula’s Dream Lucy, or his vision of the vampiric myth passed through the filter of Nordic rewritings. The director has no equal in creating dreamlike and hypnotic universes, armed with her visual talent, the music of her sidekick Ane Marthe Sorlien Holen, a sort of Norwegian Björk, and her human-sized, extremely expressive puppets. .
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