HEART-Engl
When will the waiting come to an end?," the spoken text could begin, but it is not spoken.
Words would be too soft for all that surrounds her.
Is she waiting alone in an abandoned house for someone? Perhaps her husband? Surely he is a salesman, manager, or even a soldier? But in what war are we in? Or is it just the lost dream of oneself? What violence has she been subjected to? Nothing indicates a specific era. Neither the white curtains nor the few props have a history or origin.
What difference does it make?
We are in the heart of a woman who lives in a frozen uncertainty beyond normal feelings.Outside, trains rattle over the tracks, while dogs howl like hyenas as if there's no tomorrow.
Order seems lost. The radio plays Zarah Leander one moment and then Bartok or Cowboy Indian Bear the next. Thoughts are deconstructed into movements and bombarded with archaic sounds, until the body, naked and defenseless, bends to fate and leaves the field as an animal.
Performer Lise Pauton combines philosophical aspects with her dance and contortion to create ever-changing fates and sensations. In a time of post-factual truth, she opposes it and arms herself to create peace. Alone against the world.
The heart must wait and remain still beneath the metallic armor that replaces the little black dress.
Not a little girl with matches, but a woman beyond good and evil. A tour de force for body and mind.
ENSEMBLE/PRODUCTION
LISE PAUTON PERFORMANCE
SEBASTIANO TOMA DIRECTING
LISE PAUTON & SEBASTIANO TOMA IDEA
JEAN-LUC MAURSLIGHT DESIGN
LEO PLASTAGA SOUND DESIGN
VÉRONIQUE PAUTON CHOREOGRAPHIC ADVICE
STÉPHANE ZANG PROPS DESIGN AND CONTRUCTION
SEBASTIANO TOMA SET DESIGN
SEBASTIANO TOMA & LISE PAUTON RAIEMANTACOMPAGNIE PRODUCTION
COPRODUCTION: PÔLE NATIONAL CIRQUE JULES VERNE D´AMIENS
RESIDENCE SUPPORT: CIRCA, PÔLE NATIONAL DES ARTS DU CIRQUE AUCH
RESIDENCE SUPPORT: GRAINERIE, FABRIQUE DES ARTS DU CIRQUE ET DE L’ITINÉRANCE TOULOUSE
WITH THE SUPPORT OF:
DRAC Midi-Pyrénées/Languedoc Roussillon
Conseil Régional Midi-Pyrénées/Languedoc Roussillon
Conseil Départemental Haute Garonne
Mairie de Toulouse
BOOKING Germany : WWW.SEBASTIANO.DE BOOKING France :WWW.TOUTART.FR
LISE PAUTON PERFORMANCE
SEBASTIANO TOMA DIRECTING
LISE PAUTON & SEBASTIANO TOMA IDEA
JEAN-LUC MAURSLIGHT DESIGN
LEO PLASTAGA SOUND DESIGN
VÉRONIQUE PAUTON CHOREOGRAPHIC ADVICE
STÉPHANE ZANG PROPS DESIGN AND CONTRUCTION
SEBASTIANO TOMA SET DESIGN
SEBASTIANO TOMA & LISE PAUTON RAIEMANTACOMPAGNIE PRODUCTION
COPRODUCTION: PÔLE NATIONAL CIRQUE JULES VERNE D´AMIENS
RESIDENCE SUPPORT: CIRCA, PÔLE NATIONAL DES ARTS DU CIRQUE AUCH
RESIDENCE SUPPORT: GRAINERIE, FABRIQUE DES ARTS DU CIRQUE ET DE L’ITINÉRANCE TOULOUSE
WITH THE SUPPORT OF:
DRAC Midi-Pyrénées/Languedoc Roussillon
Conseil Régional Midi-Pyrénées/Languedoc Roussillon
Conseil Départemental Haute Garonne
Mairie de Toulouse
BOOKING Germany : WWW.SEBASTIANO.DE BOOKING France :WWW.TOUTART.FR
HEART OF THE SHOW
Sebastiano Toma is the creator of the groundbreaking and influential Little Big World, a breathtaking mix of circus, music and visuals. Among other things, he is creative director of the European Youth Circus festival in Wiesbaden, Germany, and also brought us the graphic novel version of Wim Wenders' classic film Wings of Desire/Der Himmel über Berlin.
With Heart he has collaborated with French contortionist and performance artist Lise Pauton. It is a shadowy, unnerving piece of theatre that showcases Pauton's extraordinary physicality, supported by music that veers from 1940s-style Hollywood melodrama to oppressively eerie electronica. The show looks at what would happen if we were to allow our hearts to rule our heads.
As the sole performer, Pauton is, forgive me, the heart of the show. A compelling presence, she is in turns wildly animalistic and silkily graceful. She plays a character apparently trapped in, or a willing inhabitant of a dark room, with backlit white drapes acting as a window to the outside world. With her long curtain of dark hair, initially in front of her face, falling down to her waist, she is at times more creature than woman. She puts the viewer on edge straight away by wielding a large pair of garden shears; will she chop her hair off? Her head? A limb? As the show progresses, she becomes in turns utterly possessed and demonic, thrashing around the stage in a maelstrom of physicality, before slowing and becoming more insular and calm.
Her contortion is no mere display of physicality; when she performs back bends or moves spider-like on all fours, it is to support the feeling of freedom, a lack of restraint that the character possesses.
Heart showcases Pauton's skills, but also gives us an intriguing insight into physical freedom.
Adrian Arratoon -TheWidowStanton- Link> http://thewidowstanton.com
Sebaiano Toma, 11.08.2015/ Hamburg
Sebastiano Toma is the creator of the groundbreaking and influential Little Big World, a breathtaking mix of circus, music and visuals. Among other things, he is creative director of the European Youth Circus festival in Wiesbaden, Germany, and also brought us the graphic novel version of Wim Wenders' classic film Wings of Desire/Der Himmel über Berlin.
With Heart he has collaborated with French contortionist and performance artist Lise Pauton. It is a shadowy, unnerving piece of theatre that showcases Pauton's extraordinary physicality, supported by music that veers from 1940s-style Hollywood melodrama to oppressively eerie electronica. The show looks at what would happen if we were to allow our hearts to rule our heads.
As the sole performer, Pauton is, forgive me, the heart of the show. A compelling presence, she is in turns wildly animalistic and silkily graceful. She plays a character apparently trapped in, or a willing inhabitant of a dark room, with backlit white drapes acting as a window to the outside world. With her long curtain of dark hair, initially in front of her face, falling down to her waist, she is at times more creature than woman. She puts the viewer on edge straight away by wielding a large pair of garden shears; will she chop her hair off? Her head? A limb? As the show progresses, she becomes in turns utterly possessed and demonic, thrashing around the stage in a maelstrom of physicality, before slowing and becoming more insular and calm.
Her contortion is no mere display of physicality; when she performs back bends or moves spider-like on all fours, it is to support the feeling of freedom, a lack of restraint that the character possesses.
Heart showcases Pauton's skills, but also gives us an intriguing insight into physical freedom.
Adrian Arratoon -TheWidowStanton- Link> http://thewidowstanton.com
Sebaiano Toma, 11.08.2015/ Hamburg
