Ezéquiel Garcia-Romeu presents to the TNN the third opus of his triptychThe Petit Théâtre du bout du monde. He takes us back into a participative poetic and theatrical performance where the audience will be led to a surprising visual and scenographic journey. The end of the world is not so far as we believe it.
After enclosing the puppeteer in the heart of the public-censed device in Opus I in 2015, having positioned spectators and puppeteers on the outskirts of an oversized space in Opus II in 2018, the experience of Ézéquiel Garcia-Romeu continues by placing the public in circulation in the heart of a baroque device punctuated with landscape models themselves overlooked.

THE INTENTION

Guided by readingThe InstitutionRobert Linhart andThe Working Conditionof Simone Weil, like the more poetic of Leslie Kaplan inThe Excess, we will dive into the past, representing a landscape of industrial ruins, where entire lives were devoured by the factory and the workshop.
We will develop a staging and scenography that, in the form of miniatures and models, will allow the viewer to circulate from table to table, in a past world, remains of factories in work stations, chains in changing rooms or abandoned canteens. We will put a wider and panoramic view of the chromed landscapes of the industrial sites and revive the memory of an otherwise tragic past, full of hope and utopias, but of which we will only be barracks without roofs, vague terrains, woods of electric poles, telegraph sections, ferralls to the four windworks, and bones of the work. These are the witnesses of a human overactivity today dried.
Ezéquiel Garcia-Romeu

I think this approach is based on a concept here for me essential that is the absence. It is the idea of absence that gives its meaning to the notion of memory that it is here. The ruin tells of past time, and what was happening at this time, but blurred, deformed, in pieces, more or less sound, more or less bright leaving the audience his part of interpretation... Here industrial ruin tells us that it has been, that it is still, the place of the religion of triumphant capitalism. On the contrary, ancient ruins that quietly tell a time that has passed, and are the object of reassuring romance, industrial ruins are obviously much more recent, but its materials are no longer stone but iron, plastic, they are no longer white, but dark, rusty: industrial ruin tells a abandonment, a stop of something that was produced there, a presence that is no longer. He is a strange witness who has become completely silent.
Laurent Caillon