'It is not true that men are unwilling to change. It is true that many men are afraid to change. It is true that masses of men have not even begun to look at the ways patriarchy keeps them from knowing themselves, from being in touch with their feelings, from loving. To know love, men must be able to let go the will to dominate. They must be able to choose life over death. They must be willing to change.'
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Intention of the project
Following the success of the harnessed duet CUIR, Arno Ferrera and Gilles Polet put once again their bodies into play. Joined this time by Charlie Hession, the starting point for the trio is the notion of (over) protection.
In a society where questions of security and protective gestures are more than ever part of everyday life, how can we question, and stage, our relationship to violence and especially physical violence?
The artistic research focuses in part on the world of sports and combat gear, and in. particular sports that employ specific equipment to protect oneself from the adversary, on the principle of «the more one protects oneself, the more one can collide and expose oneself to violence.» How would physical relationships in sports such as ice hockey or American football evolve if protection was not used?
Our imaginations are drawn to equipment such as armour, shields, and padded suits. We plan to push the confrontation of bodies to the point where the percussive sounds of physical contact, even groans, become a source of scenic material.
In the second part of the project, the authors propose to soften this physical research in order to explore another relationship to the other, this time based on trust and on a rediscovered and necessary intimacy. We wish to reach levels of exhaustion, to reach physical states where softness, eroticism, self-mockery and abandonment are welcomed. The artistic trio on stage will be in constant mutation, fluid, like mythical characters, sliding towards relationships of seduction and redefined masculinity, and ultimately opening up to a welcomed and assumed fragility.
The project proposes a representation of a free and generous love, universal and plural, a straightforward threesome. By dropping their armour, like abandoned shells, the performers become sensitive characters, ready to share their energies in a joyful complicity with the public.
artistic direction Arno Ferrera, Gilles Polet
technical direction Pierre-Jean Pitou Faggiani
project development Anaïs Longiéras
authors / performers Arno Ferrera, Gilles Polet, Charlie Hession
dramaturgical support Bauke Lievens
outside eye Renée Corpraij, Matthieu Goeury
acrobatics coach Frédéric Arsenault
light creation Anthony Merlaud
sound creation Raphaëlle Latini
costumes Kasia Mielczarek
technical director Pierre-Jean Pitou Faggiani
booking Anaïs Longiéras
production Les Halles de Schaerbeek (BE)
coproduction Le Bateau Feu, scène nationale de Dunkerque (FR) Culture commune - Scène nationale du bassin minier du Pas-De Calais (FR) Central, La Louvière (BE) Dommelhof, Neerpelt (BE) La Maison de la Culture, Tournai (BE) Le Sirque, Pôle National Cirque, Nexon (FR) Plateforme 2 Pôles Cirque en Normandie - La Brèche, Cherbourg (FR) Viernulvier, Gand (BE) Le Prato, Pôle National Cirque, Lille (FR) Perspectives, Sarrebrück (DE) La Coop asbl et Shelter Prod
residencies Le Bateau Feu, Scène nationale de Dunkerque (FR) laGeste, Gand (BE) Plateforme 2 Pôles Cirque en Normandie – La Brèche, Cherbourg (FR) Central, La Louvière (BE) Dommelhof, Neerpelt (BE) Culture commune - Scène nationale du bassin minier du Pas-De Calais (FR) Le Sirque, Pôle National Cirque, Nexon (FR) Pianofabriek (BE)
with the support of laGeste, Gand (BE) Centre culturel suisse - Paris (FR) taxshelter.be, ING et le tax shelter du gouvernement fédéral belge ARMOUR was supported by Fonds Transfabrik - fonds franco-allemand pour le spectacle vivant