«Rage(s)», the first stage work by a duo of polymorphic female artists, presents itself as a performance that questions not only the boundaries between media but also between categories of female artists. The composer/performer Marie Delprat and the choreographer/dancer Olive Lopez each become undefined artists who play with art and adapt their instrument (Paetzold recorder/body) exclusively to an unequivocal and defined practice. The dancer uses her body as a musical instrument while the musician frees herself from her instrument to discover a unique physical language of the body. Using video, music, dance, declamation, lighting and the plasticity of the stage, «Rage(s)» explores a range of artistic materials in order to better alienate their typical use.

The fundamental idea of musical composition is the juxtaposition of synthetic and pure sounds. A mobile frame, consisting of an audio mixer, a loop station and two effect pedals, acts as the lungs of the sound installation. It is used both to amplify natural sounds, such as recorders, and as a source of electronic sounds influenced by Noise Music and Dark Ambient (Drone Music).

The choreographic handwriting is inspired by numerous ritual dances, including the Tarantella or the collective female trance dances and rituals of the Hadarrate in North Africa.

The performance by Marie Delprat and Olive Lopez arose out of a joint desire to combine their disciplines in a unique dialogue and to question their own artistic practices. It also embraces a contemplation of the body, their own bodies as artists – what they convey and  express in their personality and femininity.

Marie Delprat: Konzept, Komposition, Performance.
Olive Lopez: Choreographie, Performance.
Till Wyler von Ballmoos: Oeil Extérieur.
Christoph Utzinger: Ton.
Olivier Famin: Licht.
Maxine Devaud – Maxinthewood Productions: Produktion

Förder*innen: Pro Helvetia / Fondation Nicati-de Luze / Ernst Göhner Stiftung / Fondation Nestlé pour l’Art / Kultur Stadt Bern / Burgergemeinde Bern / Swisslos – Kanton Bern / Schweizerische Interpretenstiftung SIS / Gesellschaft zu Schuhmachern

Fotos: Hadrien Perrot