Medusenis a music theater
is a puzzle for different groups of audience and performers
at the beginning, there is the meeting with jellyfishes in an aquarium in Osaka, deserted beaches in summer in Australia, plastic bags in the sea, a fascination for shipwreck ; Réné Girard talking about mimesis and the second symphony of Gustav Malher ( again!) Then happen #metoo, a re-reading of the myth of medusa and its epigenetic character, the hearing ofthe sinfonia of Luciano Berio, the new adventures of György Ligeti and some foley.
Finally, there was a return to video games, hot-chat online, criminal investigation inspectors and some new jellyfishes, from the the Berlin aquarium, the discover of the vocoder and Isabelle mansuy, an understanding of the justice systems, their potential to the democracy, and their ritual close to the one of the concert.
Medusen is a piece for smartphones/tablets, small ensemble of musicians, live video and live electronics, situated at the intersection of role-playing games, installation and immersive theater.The audience is at the center of the device. It is guided through the space by the musical compositions and the scenographic indications, and framed by the musician-performers.Medusen uses the theater or the building that hosts it in its entirety (toilets, main room, stage, corridors, backstage, offices ... etc). ) We play with space, with what is visible but not audible or vice versa. Some actions are performed in one room, while a spectator can see it in another, etc.During the event, the public can choose one or several routes: a walk alone or in duo, audio or video, guided by interactive applications or by a guide if it is a group. The experience can last from 1 hour 30 minutes to 4 hours, depending on the choice of the spectator. Also, Medusen has "Treffpunkts": the audience gathers at a judgment (concert version) where some of the spectators are chosen by lot to influence the (musical) performance. For example theyBy the game of the imitation and the repetition, we make audible the mechanisms born of the mimetic (René Girard), precursors of this big "Angst" (Armen Avadessan) - virtual fear - that the treatments of our data bring to light. The processing of our data allows us to influence our thoughts and behaviors by threatening democracy and above all our survival on the planet.Referring to Shoshana Zuboff's research, notably on what she calls surveillance capitalism, and drawing on Armen Avanessian's reflections, Medusen translates the influence of the future on our present, by means of archetypes of the past. These archetypes are patterns, repetitive behaviors that are difficult to feel, so much so that they are the foundation of our ways of living, thinking and feeling.We believe that these great narratives that are the myths act as ruins: they influence our common destinies, just as stress or good experiences are transmitted via epigenetics on the gametes of the chromosomes. Today in the digital age, imaginary ruins are transmitted but are emptied of their mystery: if weIf we look at the peplums or some blockbusters, they are only pale, flat and violent copies.On the contrary, by mixing ruins (Greek myth), modern narration (criminal history) and contemporary staging (augmented reality - GPS-sensitive listening - audience generating 3D sculptures by its presence), our project is motivated by an emancipation of what shapes "our" pre-eternal desires.
Léo Collin music, text, direction, concept
Leandro Gianini technique, co-concept
Mariana Vieira stage, co-concept
Dalius Singer software development
Eric Larrieux instrument development
Nuriya Khasenova video performance
Kay Zhang performance
Cimon Finix, actor, musician, one man show
White Pulse (guitare, drums and saxophone)
Spaghetti Mambo (duo)
this projet is related to Hamster and the dame