The baroque solitudes of Mossoux and Bonté open Winter Facts

The 25th Dance Festival winter facts opened last night, not at its parent company Micadanses but at International City Theater. In the program : The Underworlds of the company Mossoux-Bontéa show where it is better to play it every man for himself.

The first image is breathtaking, it goes for the whole show. Dorian Chavez, Taylor Lecocq, Colline Libon, Lenka Luptakova, Frauke Mariën and Shantala Pèpe each appear in a line. A podium, a corridor, a drawer, see what you want! They and they are baroque corpses with wigs and, for some, large dresses almost like a crinoline. The movement also appears, it begins by being tiny. There is a breath that seizes an abdomen, a hip that swings from left to right, another that releases, as with Martha Graham to relieve the whole body.

There are many collapses and jolts in this image search freak that we find a lot at the moment with Tania Carvalho or Nina Santes. Yes, dance and fantasy go hand in hand. Those who are familiar with the work of the Mossoux-Bonté company will not be surprised to find a research on the strangeness of the body and its deformation, mobilized here with great mastery. An insidious malaise seeps through the paintings, as disturbing images fracture the normality of the bodies: hydrocephalic twins, supernumerary limbs and disarticulated poses. The creators evoke the iconography of Hieronymus Bosch, but we would also see echoes of horror films like shining.

The lighting is wonderfully mastered, and, combined with the work on the costumes and the wigs, composes precisely chiseled paintings. In a dominant of cold tones reminiscent of a morgue – the Underworlds are not from the universe of the living – the ghostly pallor of the bodies helps to derealize them. It is all the more disturbing that the movements of the dancers are sometimes imbued with a certain sensuality: this paradoxical combination contributes to instilling a state of disorder whose place would be very difficult to specify.

Unfortunately, the show runs out over its duration and the duo seem to lose their common thread. While we felt safe in this Bal des Vampires 2023, the play becomes a dance show that suffers from all too classic rebounds. A line that breaks before finding itself again, for example. In view of the crazy visual inventiveness of the beginning of the show, its fall seems to us to lack consistency and flavor.

Amélie Blaustein-Niddam and Mathieu Dochtermann

Next dates for this show in France: March 8, 2023 at the Théâtre des Quatre Saisons (Gradignan) and July 7, 2023 at the Mimos Festival in Périgueux.


Designed by Patrick Bonte
Direction and choreography Patrick Bonté and Nicole Mossoux
Performance and artistic collaboration Dorian Chavez, Taylor Lecocq, Colline Libon, Lenka Luptakova, Frauke Mariën and Shantala Pèpe
Alternating interpretation Quentin Chaveriat and Flora Gaudin
Original music by Thomas Turine
Scenography Simon Siegmann
Costumes Jackye Fauconnier
Masks, headdresses and make-up Rebecca Flores-Martinez
Assisted by Marie Messien, Isis Hauben, Sandra Marinelli and Jean Coers
Light Patrick Bonte
Technical director Jean-Jacques Deneumoustier
Realization of the costumes with the help of Cécile Corso, Anicia Echeverria and Muazzez Aydemir
Sound management Fred Miclet
Lighting manager and assistant Baptiste Leclère

Photo: © Julien Lambert

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Mathieu Dochtermann

Passionate about live performance, in all its forms, puppet theaters in particular, circus and street arts as well, and still comedians’ theater, despite everything. Practice the clown, a little, the story, even more, the theater, always, the laughter, often. Central criterion of a good show: the one that moves, that touches the sensitive thing at the bottom of the chest. The rest is chatter. Facebook:

The baroque solitudes of Mossoux and Bonté open Winter Facts – Toutaculture