© Mikha Wajnrych
© Danièle Pierre
Cie Mossoux-Bonté

Press

The unfathomable witnesses

They are not angels, nor demons. They are ghostly and eternal traces that occasionally come out of the darkness to observe our incomplete and mortal humanity. No constraints tie them down, neither does any terrestrial ritual. The free strangeness they are made of establishes the link between the world and nothingness. The new creation by Patrick Bonté and Nicole Mossoux greatly exceeds the frontiers of contemporary dance to flirt with the disquieted and multiple lines of performance art. Everything is unwonted, captivating and resolutely dark. Les Arrière-Mondes is a macabre and fascinating dance of indisputable shadowy beauty.

The Company’s work has always resided on the outer edge between dance, theatre and performance. This time, the frontier is trespassed as by a logical continuity sharpened from creation to creation. A continuity that advances more and more towards unknown territories, opening new paths. The direction to this enigmatic piece leaves its spectators the freedom to fully interpret it according to their feelings and experience of it. Some will understand it as ill-fated poetry, others as a mystical or metaphysical ode to authorities ruling over mankind. The fact remains, however, that the Company once again manages to create a language specifically suited to the intention behind the production. It is resolutely contemporary and disconcerting.

From the outset presiding over the harsh atmosphere, the musical composition by Thomas Turine is built from jolts and fractured noises over a long crackling sound from old vinyl records on a loop. Wiry spectres appear from the end of their corridors, all partitioned, with no possible contact. Their bodies transfixed by broken movements, actions in which chaos, repetition and disconcertingly sensual flows get muddled up. One shudders on several occasions from surprise, awe or hypnosis. The superb costumes by Jackye Fauconnier favour the characters’ metamorphoses all the while underlining the dryness of the performers’ muscles. Their nakedness is never far off. The improbable wigs seem to come from forgotten times, baroque, medieval and modern at once. We get to discover an entire iconography of beings that exist only in the slits between time, space and our captivated imagination. One hears Eraserhead, thinks of Francis Bacon’s Pope, of Nightbreed by Clive Barker or of Pinhead in Hellraiser.

In April 2020, as rehearsals were supposed to be in full swing and as the pandemic was acquainting us with new sanitary measures, Patrick Bonté and Nicole Mossoux decided to change the scenography so dancers could keep their distances from each other. Not only did the stage set-up become different, but the stakes did too. The constraint of impossible interactions forced the production to adopt and respond to strict codes. This contrived restrain pushed them to find solutions, to change the language these newly solitary bodies were speaking. The research they conducted was a commanding one, with no half measures. The result is a radical performance where tension is palpable from the first to the very last second.

Les Arrière-Mondes is a baffling and uncompromising creation that leads us into unknown places where we are left to face up to our feelings directly. The experience feels like a journey into a timeless world, fantastic and macabre, that holds the spectator in constant fascination. It is impossible to take your eyes away. That’s how much this strange beauty snatches you, hypnotises you, sending down your spine shocks of dread and amazement. A masterpiece.

Jean-Jacques Goffinon, Point Culture / June 2021

 

At the confines of « Les Arrière-Mondes »: out of alignment figures in parallel choreography

(…) Les Arrière-Mondes is the story of a reflection about the fickleness of beings, the continuity of their doubts and torments, the eternal return. It is the story of an imposed rupture, of vertiginous and unremitting uncertainty, of an assented, but no less radical, adaptation1 (...). As the soundscape is filling up with a crackling of haunted murmurs, six figures emerge from the deep. Their parallel paths – six hallways veiled in black, in a scenography by Simon Siegmann – by turns revealing then engulfing them in a back and forth movement that tears them away from the past to thrust them out to meet with the contemporary world, and back (…).

From straight lines, their trajectories will move towards fits and starts, sinuosity, soaking in the unforeseen. The characters, with their faces lengthened with high foreheads and their hair of unlikely geometry, in spite of being compelled to act without seeing each other, will look for each other, tracking the other within themselves in an unregenerate and cavernous quest. Beyond gender and blurred features, identities take shape and assert themselves, just as fleeting as they are intense. Unexpected angles shatter the straight lines. The bodies are knocked out of alignment, divided into two, dismembered. Their presences become the spectres as much as the Vestals of a nightmare grounded in reality. The real, as heckling as it was, is precisely what has forged the diversions and incongruities of this creation. It is also that through which one deciphers the enigma behind Les Arrière-Mondes. Wearing costumes by Jackye Fauconnier, behind the masks, wigs and make-up created by Rebecca Florès-Martinez, the six performers (four of whom collaborate for the first time with the company) powerfully and strangely inhabit this singular procession: Dorian Chavez, Taylor Lecocq, Colline Libon, Lenka Luptakova, Frauke Mariën and Shantala Pèpe. The original music by Thomas Turine sheathes it with textures, rhythms and litanies that join up with the first of ingredients, evanescent and imperious: time, the time that carries in its wake the attempt and the turmoil.

1 Adaptation to the sanitary measures in place at the time of the beginning of the Covid-pandemic.

Marie Baudet, La Libre / June 2021

A dance of darkness

They appear from the deepest obscurity, each evolving in their own oblong perimeter, their faces first hidden in the shadows, their grotesque figures progressively being unveiled. They look like they are coming straight out of Christ Carrying the Cross, attributed to Hieronymus Bosch, or out of portraits by Quentin Metsys. As they go back and forth incessantly, they all take off their attire and are left bold, wearing only a dirty white chemise. It is not so much the Renaissance we are reminded of anymore, but of the more recent ghosts of the sick locked up in psychiatry wards. The back-worlds of the title slowly leave their original meaning of the hereafter or parallel worlds behind to refer to our inner realms and sleeping madness instead.

The double, a recurring theme in the duo’s work, is present once again through the use of masks and unsettling illusions (those two women, of whom we know that they are two, but whom we see become one, like a spider). Twins in short trousers echo the scary twin sisters in the hallways of the Overlook hotel in Kubrick’s Shining. Insanity’s lurking at every corner…

Worrisome and sensual, the six creatures – neither male, nor female - join in a deft and spellbinding finale (…) before lightning strikes the end of the performance.

Estelle Spoto, Focus Vif / June 2021

 

« Les Arrière-Mondes » or the ghosts of humanity

By integrating into their latest creation a constraint born with the pandemic, the Mossoux-Bonté Company delivers a fascinating production that could not be more timeless.

They appear slowly, without a sound, as if they were escaping from an endless night: six characters seeking their history, six silhouettes of which one at first only distinguishes the moving and slightly blurred contours. They hardly move, tremble, stumble sometimes, make a motion, hold it and let it escape again … In only a few minutes, the new production by Nicole Mossoux and Patrick Bonté grasps its audience and leads them into a strange and mysterious universe where the six figures spectators are faced with seem – well – faceless or devoid of personality. They become agitated to no avail and sometimes seem astonished by their own presence, both visible and unreachable, like spectres who would instantly vanish did we try and touch them.

Yet, these undefinable, almost interchangeable, beings gradually start to unmask each other. Each finds its own colour, movement vocabulary, hidden memories that crop up from the depths of time. As it is often the case with Mossoux-Bonté, Les Arrière-Mondes intertwines the fantastic with the everyday, the tragic and the grotesque, humour with dread, the poetic and the trivial (…).

By turning today’s restrictions into a central element of the show, Les Arrière-Mondes invite us to travel through time and the human condition, which more than ever awakens innumerable questions about the here and now.

Jean-Marie Wynants, Le Soir / June 2021