Garcimore est mort, 2021

Struggling with a chaotic scenic device in perpetual deceleration, playing with the codes of entertainment (a scenic installation consisting of an automated circular curtain and sounds), three (or four) performers make their way towards their own emancipation and celebrate the simplicity of the imperceptible glitter of existence. While passing through hand tricks, pop songs, a tap dance solo, physical prowess or dance, they share their thoughts on the power of beliefs and manipulation and try to deploy an ode to decay in dissonance to the complex, over-informed, ultra-fast, profuse, capitalist and demanding world in which we operate.

In my previous production - TALK SHOW (2017) -, I approached a naturalistic way of being on stage, a way of playing without playing, in any case without embodying more than the reality of the facts and emotions that flow from it. With Garcimore est mort, this performative state of mind close to the truth will be contrasted by the use of identifiable devices comparable to the codes of entertainment (applause, drum rolls, laughs...). Deeply interested in questioning these codes, I would like to use them for counter-employment, creating a performance that is deliberately off-kilter and far from the usual ploys of the spectacular. (Gaël Santisteva)

Garcimore est mort premiered on November 18, 2021 at Le Manège de Reims (FR), in the frame of festival Born to be a live.

Garcimore est mort - A project by Gaël Santisteva (80', 2021)

Performance: Ondine Cloez, Jani Nuutinen, Gaël Santisteva + 1 surprise guest, alternating: Sophia Rodriguez, Micha Goldberg, Rosie Sommers

Artistic advices: Lara Barsacq

Sound and musical creation: Lieven Dousselaere

Light design: Vic Grevendonk

Costumes design: Sofie Durnez

Stage design: Jérôme Dupraz, Sofie Durnez, Gaël Santisteva

Administration & production: Myriam Chekhemani

Communication & distribution: Quentin Legrand - Rue Branly

Production: Gilbert & Stock

Coproduction: Le Manège - scène nationale-Reims, Malraux - scène nationale Chambéry Savoie, Le Théâtre d’Arles, Théâtre de Choisy-le-Roi, scène conventionnée d'intérêt national - Art et création pour la diversité linguistique, Les SUBS, CIRCa pôle National Cirque - Auch (FR), Charleroi danse, Espace Catastrophe - Centre International de Création des Arts du Cirque (BE)

Residencies: Charleroi danse, Espace Catastrophe - Centre International de Création des Arts du Cirque, Centre Culturel Jacques Franck, Kunstenwerkplaats, Latitude 50, Arts Center Buda, Wolubilis - Pôle culturel de Woluwe-Saint-Lambert, Maison de la création (BE), CIRCa pôle national des arts du cirque-Auch, Les SUBS, Théâtre Cinéma de Choisy-le-Roi, Département des Bouches-du-Rhône – Centre départemental de créations en résidence (FR)

With the support of Fédération Wallonie-Bruxelles, Wallonie-Bruxelles International, Sabam for Culture and SACD

photos © Stanislav Dobak

Playing with the codes of circus, Gaël Santisteva and his team take a lucid look at society and the world of entertainment. Hilarious ! […] Some shows can turn upside down everything you knew about writing, the dramatic stakes, the aesthetics, the requirement… Shows from which you come out hilarious, but totally disoriented. Garcimore est mort is one of those.
Anne Quentin, Théâtre(s), été 2022

At the edge of performance, dance and circus, Gaël Santisteva signs with Garcimore est mort a hybrid piece whose comicalism mixed with depth gently addresses important and unfathomable questions. [...] Wigs and sequins, skates and slippers, automated curtains and tap dancing, songs and prowess, hypnosis and confidences: Garcimore est mort turns three little magic tricks into the material of a derisory that lasts. A crunchy treat whose flavor you won't soon forget.
Marie Baudet, La Libre Belgique, 19.03.2022

Pursuing his enterprise of deconstruction of the spectacular, [Gaël Santisteva] puts himself on stage with three performers in a piece which, in its very dramaturgy, tends towards sobriety, slowing down. Collective writing on the set, improvisations on the wire, pop and absurd aesthetics are the building blocks of a "meta-performance" that plays with itself. Gaël Santisteva signs here a eulogy of the useless, of doubt as a way and of fun as a remedy.
Interview with Mélanie Jouen, Ma Culture, 07.03.2022


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