Stage design: Antonin Sorel
Music: Alexander MacSween
Light: Mikko Hynninen
Photo and film: Pascal Grandmaison
Video art: Sabrina Ratté
Showing of Introduction to Violence by Marie Bassard at 16.00. In collaboration with Göteborgs dans- och teaterfestival.
Vitlycke – Centre for Performing Arts is supported by Tanum Kultur & Fritid and Västra Götalandsregionen.
Marie Brassard is an actress, author and director. The international theater audience is familiar with her as an artistic associate of Robert Lepage, part of a collective with whom she has co-‐authored many plays, between the years 1985 and 2000. These have toured and were presented throughout the world. In 2001, she created her first solo work, Jimmy, within the framework of the Festival TransAmériques. The success of the piece and the experience itself brought her to found her own production company and to begin to work solo. Since then, in collaboration with guest artists from different disciplines and origins, filmmakers, musicians, set and light designers and sound artists, Marie has created surrealist theatre or dance pieces with virtuoso acting skills and innovative video, light and sound installations: The Darkness, Peepshow, The Glass Eye, The Invisible, Me Talking to Myself in the Future, La Fureur de ce que je pense (The Fury of my Thoughts), Trieste, Moving in this World (with choreographer Sarah Williams), Vauban (with author Alain Farah, The Useful Life (Évelyne de la Chenelière). acclaim throughout the world.
She is the artistic director of Infrarouge company.
Introduction to Violence
In the company of artists Alexander MacSween, Antonin Sorel, Sabrina Ratté, Mikko Hynninen and Pascal Grandmaison, Marie Brassard proposes a new solo work, beginning of a cycle, reflection on the perception of time and the learning of brutality.
A mixture of visual and sound arts, film realism and expressionist theater, Introduction to Violence is the first segment of a hybrid work for adults, inspired by a child’s remark.
In the beam of a flashlight that pierces the night, a book of prints opens on a landscape. Leone, two and a half years, points to a clear spot barely perceptible in the blue sky of the drawing. Look, she says, it seems like a little Japanese flower that has not been born yet. In the antechamber she imagines, this flower has a conscience and it hopes for the moment of its incarnation. This point in the sky is a window, through which we see the world beyond what the page of the book conceals. It is in this nebulous space that voices mix to tell the dreamed story of an assassin, to a child who does not want to sleep.