The human being, by its nature of being finite, limited in space and in time, has always tried to define the world around him. This is because it is necessary to order, clarify, control and be able to delimit what surrounds him, therefore to be able to protect himself from the innate fear the unknown. A clear definition simplifies communication and understanding. On the other side the gradual is to loss the ability to recognize and accept, as equally real, everything that is in the middle of the definitions, what is on the border. A sort of border that is no longer seen as a fascinating concept mystery but rather like a shadow space that escapes from ours pocketing capacity becomes dangerously uncontrollable. How much does language define the world around us? How much does it affect our way of perceiving reality and relating to it? A term, used today especially in the psychiatric medical field, can define this border space.

This new work by Cirque Farouche shows us that a circus show it can be written, put on stage and made like a movie.

18 ½
A reference to the movie 8 and a half, in which Fellini shows a director who needs inspiration, trying in vain to isolate himself, while a small world insists on him: he has a film to shoot. This is the starting point. As a director, Jef Odet brings his team on the set. The stage is ready, even the music. The artists will discover the scenario. The dramaturgy does not derive from a story, because it is fundamentally about the circus. It comes from the right tension of the body, the circus gesture deployed in exactly one scenario, to translate and serve, here and now, an emotion. This is the goal |

The circus is life, it is Zoé. It is our life, our creation, our work of art. The most earthly, ancestral part, linked to the earth as a profound vital necessity. The most ethereal, freedom, dream. "Men return to the earth," said Zarathustra. Our circus is earth and soul, born to defend that creative and generating energy capable of bestowing existence. Where there is no separate life from the work of art they coincide by necessity, there sacred and profane there are pursued through the true and the representation. Zoé is natural, naked life. So we choose itinerancy, the group and autonomy in opposition to the production of art. Itinerancy is a necessity in movement. Or so or nothing. Because we are bowels and organs when the body dictates the rules of the game. We are the need of the body as the gesture that derives from it, honest and concrete. But ours is the world of illusions, that space of existence within which we express our greatest challenge and the most miserable of the defeats; to each his own. Power and misery, eternal and earthly, dramatic and ridiculous, poets and laborers.

Ph: Laura Armani | Andrea Macchia | Elias Djemil-Matassov | Victor Delfim