Presse

“The staging of such a starry writing with its bits of versatile language summons acrobatics, dance, theatre, texts, video and music all together. Its dramatic design uses everydayness to transfigure reality. The performers’ bodies are utterly involved within the scenographic space and its volume—sounds and images, moves and acting, screens and vertical ropes. […] All the actors perform their arts with respect for the others: they jump, soar into the air, bounce, fall and fall again, stand back up, are restrained by improbable bonds, set themselves free from them… One does not know where to look at in this perfectly organised chaos, while listening to the guitar, clarinet, accordion, keyboard, drums and percussion near tree trunks and ropes loosely tied to hangers. Who are we? Looking for one’s identity through the performers’ showcase is pure pleasure.”

“However, multidisciplinarity is not necessarily synonymous with yielding to the current trend. […] Not only does the GdRA escape that criticism but the company also uses these various means of expression as the cornerstone of a grammar that serves its syntax. The collective adopts a stage language that deconstructs the uniqueness of the form and implements a protean language instead, for it is the only one which can account for the necessary deconstruction of the human-subject. Nipping in the bud any dogmatic vision of what a person is, the use of such varied media as video, circus arts, dance, theatre and music metaphorically plays its part in the endeavour.”