dance/performance | estimated length : 2h
Price S (except special prices)
not recommended for audiences under the age of 18
Wednesday 14.03, 08:00 pm
Thursday 15.03, 09:00 pm
Friday 16.03, 10:00 pm
Saturday 17.03, 07:00 pm
Sunday 18.03, 03:00 pm
Thursday 22.03, 07:00 pm
Friday 23.03, 10:00 pm
Saturday 24.03, 07:00 pm
Sunday 25.03, 03:00 pm
For Marie-Caroline Hominal, dance is space for transformation; she is interested in how the body’s metamorphosis drives a change in the audience’s gaze. She presents nocturnal beings that evolve in the interval between nights that never end, partway between intimacy and artifice, manipulation and letting-go. Here, dance is the other name for the identity that floats between interiority and fantasy. For their part, Markus Öhrn’s productions call on a cruel grotesqueness that forcibly exaggerates the oppression inherent to perverse family situations. The acting and scenography, as well as the music, are subjected to a brutal, almost nightmarish deformation, yet all the while making the structures and logic of domination explicit.
In HOMINAL/ÖHRN, the two artists combine their artistic worlds. In the agreement between the two of them, Marie-Caroline Hominal asked Markus Öhrn to respect just one article: that the production feature her in a solo show.
Indeed, the relationship where a man decides what will happen to a woman is one that is familiar to Markus Öhrn. It made a mark on the life of his grandmother, who died a few years ago. She lived in a village in the north of Sweden and was under the total control of the grandfather, a strict and uncompromising patriarchal figure. She was a good mother, a good wife and a good Christian, following social customs and her husband’s orders. Not long before her death, Markus Öhrn asked her what she would do if she could live her life over again, and she replied, quite unexpectedly, that she would be more destructive and would follow her own wishes more often.
Markus Öhrn has transformed Marie-Caroline Hominal into the Lazarus-like reincarnation of his grandmother, appearing on stage thanks to the masks of theatre and with a transgressive vitality. Here, theatre is the means by which order is renounced to liberate desire and vitality.
The Swedish plastic artist and director links this fantastical reincarnation to the relationships between feminism and satanism that have occurred since the 19th century. This tradition is based on a re-reading of Genesis: the snake brings Eve a fruit from the tree of knowledge, and Eve is punished by God for having accepted it; she is punished for having had access to knowledge. For these feminists, God thus represents the patriarchal power system that forbids women all knowledge and autonomy, and the serpent – representing Lucifer – becomes the symbol of women’s emancipation. This link between feminism and satanism is seen in the show’s final reading of the poem The Profane Genesis by Renée Vivien (1877-1909), a lesbian and feminist poet whose texts express desire lived freely and to the fullest.Central to HOMINAL/ÖHRN, this link brings together the new power of the reincarnated grandmother, the initial contract reversed by an interpreter who latches on to the energy of the set, and obvious references to current affairs. the dancer and choreographer Marie-Caroline Hominal, submits of her own free will to the authority of the director Markus Öhrn. Hominal becomes Öhrn by the decision of the one and the Gothic power of the other.dsojxkosjxo
Technical direction, sound and graphic design:
Mademoiselle MCH association, Genève – Théâtre Vidy-Lausanne
TU – Théâtre de l’Usine, Genève
With the support of:
Loterie Romande – Fondation Nestlé pour l’Art
MadMoiselle MCH est subventionnée par la Ville de Genève et le Canton de Genève et soutenu par Pro Helvetia, Fondation suisse pour la culture.
Institutet (SWE), Motus (ITA), Kampus Niemi, Lasse Niemi, Roby Carruba, Janyves Coic, Bruno Dani, Mathieu Dorsaz, Christophe Glanzmann, Rosi Morilla