TRIPTYCH

chronology

Playing with the audience’s sensory perceptions,
form 1 dives into a dimension between the underwater world and limitless OUTER space...

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

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

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

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.