Flora Détraz
Échelle Humaine - Tutuguri
© Flora Détraz / Tutuguri © Pablo Lopez ©
Design Interpretation: Flora Détraz
Lighting: Arthur Gueydan
External view and physical preparation: Anaïs Dumaine
Acknowledgements: Konrad Kaniuk
Production: PLI
Coproductions: Materiais Diversos (Pt), PACT- Zollverein (De), MA scène nationale, Montbéliard (Fr), Relais culturel de Falaise (Fr), CCN de Caen en Normandie (Fr)
Tutuguri has received financial support from DRAC Normandie, the French Institute of Portugal and the Gulbenkian Foundation.
Tutuguri is about seeing and hearing a dance. Here, the vocal cords and the body are at stake.
From this vocal body emanates a whole range of sounds: singing, whispering, snatches of conversation, animal noises, infant cries or alien rattles. The sounds slide and clash with the gestures.
Sometimes the audible corresponds to the visible, sometimes, on the contrary, they telescope, shift, produce unexpected and disconcerting assemblages. The body is transformed into a receptacle, a refuge for a multitude of beings, identities and stories.
Tutuguri is a being that has swallowed up worlds.
In the same place
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Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
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Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.