Photo: Jean-François Gratton
Time reminds us of the fascinating ability of The collective les 7 doigts, Michel Lemieux and Victor Pilon to reinvent itself constantly.
The time that queue, that elapses between the tics and the tacs to life as the pages of a book flying away : it is in the scenes of the great clock of life that immerses Time, the new creation with four hands, imagined by the alchemists of the 3D, Michel Lemieux and Victor Pilon, and the artists of the circus collective Les 7 doigts.
In this Time, created through a residency program supported by the Place des Arts, the two companies have shaped an object, hybrid and experimental, blending techniques and power of dream-like holography in the physical theatre. The kingdom of Time, the time is incarnated by a spoilsport, a great watchmaker-in-chief, who comes to excavate and listen to the memories of an old man arrived at the dusk of life.
Here, the holograms are at the forefront of giving new life to a series of characters from the past, come wake up the memory of the protagonist. All the game of this trip in time and in memory is to give life to the child, the young adolescent and the young lovers embracing again her sweet in his arms through the magic of holograms. Its moving images are superimposed on the scene as all the books in the great library of his memories.
The visual metaphors abound in this fabulette where the techniques of multimedia allow to exploit to the full the idea of the long-gone and passes by without end. In the maze of memory, history repeats itself and a library, throne, symbol of the seat of memories, burning, like those which fade slowly.
The ghost images make irruption at any time in the intricacies of oblivion, where circus artists Isabelle Chassé, Patrick Léonard, also directors, camped their characters at various ages of life. In this race against the great hourglass of time, lovers are lost and find themselves at various times, thanks to an ingenious system of projections and slides and trap doors on the stage.
Skillfully played by Gisle Henriet, the master of time is needed regarding him as a roommate detestable, borderline bully, which pulls aside the strings of all this beautiful world and dictates the course of life.
In this tale tragicomique, the artists seem to, however, by moments in the service of the technique, rather than the contrary, particularly in some of the scenes unnecessarily long and repetitive where the holograms are hogging the attention, make the shadow the play of actors and allow some glimpses of the emotions. At other times, the marriage of physical theatre and the 3D image operates in contrast to marvel. In particular, when the protagonists, reproduced and multiplied in a reduced format, run and get lost in the maze of a library. Magic, also, when the lovers drown in their sorrow and float in the great whole of love swallowed up or disappear in the fire that engulfed their memories.
Although imperfect, this Time, ferociously melancholic, reminiscent of the fascinating ability of the collective of circus and of Lemieux and Pilon to collaborate with other artists, to constantly reinvent and experiment with new avenues closest to the theatre. Far from the acrobatic performance, The 7 fingers and 4D Art excellent to explore the facets of the human condition, and this latest installment is no exception.
Thin disappointment, however, when the curtain falls on the air archiconnu With the time. A cliché is superfluous, in the present case, since, in and of itself, this Time did not need words distinguished from Léo Ferré to complete to demonstrate the implacable flight of the passing of time and that does not come back.
Lemieux Pilon 4D Art and The 7 fingers
At the Cinquième Salle, Place des Arts, until 27 January