Overcoming the border between you and me: getting to meet you, to never get lost in the crowd again. […] Finding a place where being together is possible. […] Something that will involve becoming alive with one another, and holiday will be possible.
J. Grotowski (Holiday: The Day That Is Holy)
MONJOUR is a performative device that focuses on the reflection about power and about a game of manipulation between the performer and the audience.
MONJOUR is a “contemporary cartoon”, made of bodies in flesh and blood, led by Silvia Gribaudi’s irony with Matteo Maffesanti’s visual complicity, by Francesca Ghermandi’s drawings, Leonardo Benetollo’s stage light design, and by acrobatic performers: Riccardo Guratti, Timothée-Aïna Meiffren, Salvatore Cappello, Nicola Simone Cisternino, and Fabio Magnani.
What is the interdependence between the audience and the performers?
What is the mutual responsibility between an audience member and an artist?
MONJOUR is a day to exist together in disorientation. But what are we ready to give as long as we can continue to exist?
MONJOUR consists of 2 dancers, 1 clown/actor and 2 acrobats. The work includes choreographic
practices on the relationship between body and comedy, between drawings and aesthetics in the
relationship between performers and audience.
In MONJOUR a director/performer is in a dialogue from the audience with the performers,
destructuring and reconstructing the images the audience sees during the performance, and
creating a physical, comic, and choreographic virtuosity.
The mise-en-scène, lit up by artist Francesca Ghermandi’s pop drawings, marks the boundaries
between artists and director, disrupts orders and roles, becomes a scream that focuses on human
fragility as a strong point, fallibility as revolutionary power, the unexpected as the possibility of
seeing beyond the limits.