Manipulations, objects, marionettes, shadows, illusion: Nicole Mossoux has long explored these falsely solitary universes. Through the discovery of this new opus, we are reminded of “Kefar Nahum”, of the wonderful multiple monologue “Twin Houses”, “Light”, as well as “Gradiva” or even “Katafalk” and “Juste ciel”, which represented the start of the Compagnie Mossoux-Bonté thirty years ago.
The body and its appendices, its growths like strange, sometimes disturbing, companions, inhabit these worlds. They can be found in “Whispers” - created last October at the Théâtre de la Balsamine - with the participation of Colette Huchard for costumes and Johan Daenen as set designer.
While music has always left sinuous contours in Mossoux-Bonté’s performances, the sound here takes on a particular texture, with sound effects and sound objects by Mikha Wajnrych, and microphony and live music by Thomas Turine.
Dance of recollections
The lone woman who appears on the stage is perhaps not alone. Around her, there is rumbling and breathing, whispering and clinking, creaking and muttering.
The woman herself - whose clothing and the lights (by Patrick Bonté) resemble a Vermeer character - proves to be multifaceted. Children and ancestors, will-o'-the-wisp and ghosts, the living vestal of wandering spirits.
Dance, here, is a distant cross-reference to ballet. A hybrid, filled with recollections, it dramatizes mystery and absorbs turbulent waters. As a lace maker with expressive hands, whose face is a mix of grace and astonishment, Nicole Mossoux summons the dark forces that the whispers are hiding.
There is magic, a disturbing joy, a fascinating severity, a vibrant strangeness in this plural solo. Thus, “Whispers” is tirelessly in keeping with the beautiful space-time of a company tuned in to the secret.
Marie Baudet • 2016