As a basic principle of the Dispositif series, the entire work is derived from the scenography. The one at the heart of the present project offers fertile characteristics and induces certain specific lines of research:
working on a succession of curtains means questioning the very matter of the spectacular, the exhibitus (putting it in the sight of); it means linking it to the human, to the presentation of the self that governs all relationships, and to what we tell about ourselves.
It is, of course, the relationship with the audience that is called upon: first impressions and flashes of insight can be contradicted or modulated. The word curtain comes from the Old German ‘ridan’, which means ‘to twist’, and curtains are capable of twisting perception.

The balance between sense and sensation is more than ever called upon.
There is an inevitable succession of images in this Dispositif, and it is important to weave a progression, to install recurrences and links and to develop a rhythmic score. The aim is to develop a form of narration that is concerned with meaning while leaving it open.
The context made it necessary for me to work on “characters” and “figures”. The result is a cast that features a dancer who sings, a virtuoso dancer and an actor. They will cross the whole work and constitute a link, a continuity that counterbalances the succession of images generated by the scenography. I have in mind Lynch’s Red World in Twin Peaks, the cabaret curtain in Pommerat’s Je Tremble, etc.

The stage set-up allows for a series of changes at varying speeds of a dozen curtains.
The choice was made to progressively move the curtains from the back to the front, i.e. from the distance to the front of the stage. Thus the stage space is reduced and flattened, the performers are as if “pushed to the front” and overexposed, and for the audience there is a crescendo of sensations and perceptions of textures.
This order generates a form of strangeness, like a “countdown”, as if we were going back in time. It structures the dramaturgy around what hides or interrupts what we have just seen, and around what continues to exist in the background, hidden from the audience’s view.