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TRIPTYCH 

chronology 


Playing with the audience’s sensory perceptions,
form 1   dives  into  a  dimension  between  the  underwater  world  and  limitless  OUTER space
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​FORM 2 - SHORT FILM  

An  old mother  is  losing  her  memory.
What drove her to tattoo her back with a Maori Motif on  her 80th  birthday?
What seemed to  have  no  meaning  for  her  divided  sons will reveal after  her  death  a  deeper  quest  for  unity.
After  scattering  her  ashes  into  the  sea,  in  exchange, the  brothers will catch  a  vulnerable creature - once  mythical,
​tangled  up  in  plastic :  an  Octopus.

TEASER 1       

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and  here  comes  RAy, Joe's new  EMPLOYER...   intouchable.

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Image credit France Hervé                                                                                                                                                                                                                                                                                                                                                                 

​It is at the center of this symbolic meeting, almost telluric between the elements, that the Octopus appears. In the film, she augurs the dreamy rebirth of the Mother, as the reconnection of the divided members of the same family.  In the Inter-arts form, the Octopus will find its place singularly. In an empirical and all-powerful way. FORM 3 opens the fields of possibilities in a variation of scenes more evocative, than explicit.

WHY THE OCTOPUS?
​to  represent  what  exists  only  in the depths  of Legend...
At once an originEl monster, the force of an  embrace,
​the Octopus COULD BE the invisible sketch  of the antagonistic  forces that cross and constitute  us.

3)  INTER  ARTS  DEPLOYMENT a time  space  abstract odyssey  

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FORM 3 begins with the revealing of an interior : JOE’s house with a view on the botanical garden. We recognize it immediately from the moving pictures sequence. The full dimensions of the set creates the impression of having entered the film.

The Mother's bedroom next door is now the one for the Octopus about to be released into the ocean...
This set includes realistic elements (sofa, table, fridge, bed, aquarium), as well as supports for back projected images: windows giving impressions of the exterior world, walls to give the illusion of a doorframe view, inside the aquarium reflecting its inner world...

On stage, the characters of the film appear live, played by the same actors.
They are at the point the audience left them on screen... At a turning-point.

New scenes-tableaux unfold (in real time and virtually) enriching the elements perceived though the film yet in this hybrid inter-arts format, the scenography keeps opening up perspectives and spatial shifts.

​The apparent domestic situations revealed in the film are revisited, transformed and elevated into the EPIC. Like for the choreographic anti-gravity opening, the heroes exits in multiple and simultaneous space time dimensions.                                                                       

The morphogenesis of the living and the presence of the inanimate come together. Little by little, this unexpected fusion allows the audience to identify everything they witness within a state of perpetual change and impermanence. A man turns into an Object that will become a Light, then Sound, then Man again...

Within this mode, the SET begins to take on a life of its own. Not unlike the Octopus.

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Image credit France Hervé

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  • FORM 1 Choreographic Prologue
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