{"id":512,"date":"2022-11-12T15:02:20","date_gmt":"2022-11-12T15:02:20","guid":{"rendered":"https:\/\/www.critical-stages.org\/26\/?p=512"},"modified":"2022-12-27T09:59:36","modified_gmt":"2022-12-27T09:59:36","slug":"fame-un-premier-opus-propice-aux-discussions","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/26\/fame-un-premier-opus-propice-aux-discussions\/","title":{"rendered":"FAME, un premier opus propice aux discussions"},"content":{"rendered":"\n

Caroline Ch\u00e2telet<\/strong>*<\/a><\/p>\n\n\n\n

La premi\u00e8re \u00e9dition du festival FAME en Belgique, en septembre 2022, fut l\u2019occasion pour l\u2019AICT, en partenariat avec l\u2019\u00e9quipe du festival, d\u2019organiser un stage pour jeunes critiques r\u00e9unissant pr\u00e8s d\u2019une vingtaine de participant.es et anim\u00e9 par la Fran\u00e7aise Caroline Ch\u00e2telet. Retours pluriels.

First edition of the festival FAME, Brussels, Belgium, September 2022. This gave an opportunity for IATC, in partnership with the festival organisers, to stage a seminar for young critics which brought together nearly a score of participants from the four corners of Europe and beyond (Canada, Czech Republic, France, Georgia, Lithuania, Moldova, Poland, Slovakia, Taiwan, Turkey, U.S.A.) under the leadership of Caroline Ch\u00e2telet.<\/p>\n\n\n\n

Tous les festivals ont une ligne artistique, c\u2019est entendu. Tous les festivals, qui plus est, d\u00e9fendent celle-ci avec vigueur, au sein de leur programmation comme dans tous leurs \u00e9l\u00e9ments de communication. Pour autant, rarement un stage pour jeunes critiques se sera d\u00e9roul\u00e9 \u00e0 l\u2019occasion d\u2019une manifestation \u00e0 la ligne si franche et ouvertement politique. Le festival FAME \u2013\u00a0Festival Where Arts Meet Empowerment\u00a0\u2013 dont la premi\u00e8re \u00e9dition s\u2019est tenue \u00e0 Bruxelles en septembre 2022 met, comme il l\u2019annonce \u00ab\u00a0en valeur les artistes femmes et issu\u00b7es des minorit\u00e9s de genre\u00a0\u00bb. Politique, FAME l\u2019est \u00e0 double titre\u00a0: cr\u00e9\u00e9 \u00e0 l\u2019initiative de Delphine Houba, l\u2019\u00c9chevine de la Culture de la Ville de Bruxelles et des Riches-Claires (\u00e9quivalent peu ou prou en France d\u2019une \u00e9lue \u00e0 la Culture de la municipalit\u00e9), sa naissance rel\u00e8ve d\u2019une volont\u00e9 de cette derni\u00e8re de donner une visibilit\u00e9 \u00e0 des \u0153uvres des arts de la sc\u00e8ne se saisissant de questions f\u00e9ministes, intersectionnelles, LGBTQIA+. Pour autant, la manifestation est port\u00e9e et imagin\u00e9e par une \u00e9quipe totalement ind\u00e9pendante dans ses choix de programmation \u2013\u00a0les limites \u00e9tant budg\u00e9taires\u00a0\u2013 et qui invite des \u0153uvres et artistes aux d\u00e9marches toutes engag\u00e9es.<\/p>\n\n\n\n

Du 19 au 24 septembre, le festival a investi divers lieux culturels bruxellois en proposant des rencontres, d\u00e9bats, spectacles de th\u00e9\u00e2tre ou de danse, performances, ateliers, concerts, expositions, projections, et m\u00eame un show Drag King-Queer pour la soir\u00e9e de cl\u00f4ture. Alors que l\u2019usage veut que pour une telle manifestation les rencontres et autres ateliers soient propos\u00e9s en \u00ab compl\u00e9ment \u00bb, toutes ces formes \u00e9taient ici revendiqu\u00e9es \u00e0 \u00e9galit\u00e9 d\u2019importance \u2013 idem d\u2019ailleurs pour les spectacles qui allaient de formes propos\u00e9es par de jeunes artistes \u00e0 d\u2019autres soutenus par des lieux plus \u00e9tablis. Pour \u00e9changer sur ces spectacles o\u00f9 l\u2019intime avait une grande place en ce qu\u2019il \u00e9tait souvent le point de d\u00e9part de r\u00e9flexions plus vastes, dix-huit participant.es se sont retrouv\u00e9s. Le stage qui s\u2019est d\u00e9roul\u00e9 en fran\u00e7ais (un peu) et en anglais (beaucoup) a permis \u00e0 des personnes venues des quatre coins de l\u2019Europe et, plus largement, du monde (France, \u00c9tats-Unis, G\u00e9orgie, Lituanie, Moldavie, Pologne, Qu\u00e9bec, R\u00e9publique Tch\u00e8que, Slovaquie, Ta\u00efwan, Turquie) d\u2019\u00e9changer. Formellement lors des s\u00e9minaires, mais aussi dans tous les moments informels ayant ponctu\u00e9 le stage. Cinq stagiaires nous proposent leur regard sur quatre des spectacles programm\u00e9s. <\/a><\/p>\n\n\n\n

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*<\/a>Critique dramatique et journaliste culturelle, Caroline Ch\u00e2telet<\/strong> collabore aujourd\u2019hui (r\u00e9guli\u00e8rement ou ponctuellement) avec les revues\/magazines INCISE<\/a>, Frictions<\/a>, Les Lettres fran\u00e7aises<\/a>, Jeu<\/a>, Novo<\/a>, Regards<\/a>, Th\u00e9\u00e2tre(s)<\/a> ; les sites internet agon<\/a>, AOC<\/a>, Sceneweb<\/a> ; le podcast  L\u2019Esprit critique<\/a> de Mediapart et la webradio strasbourgeoise Flux 4<\/a>. Elle collabore \u00e9galement au catalogue Images de la culture du CNC<\/a> ; programme des films sur la plate-forme de films documentaires T\u00ebnk<\/a> ; et participe \u00e0 la pr\u00e9-s\u00e9lection des films pour les \u00c9tats g\u00e9n\u00e9raux<\/a> du film documentaire de Lussas.<\/p>\n\n\n\n

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Gwerz, <\/em><\/strong>drag hommage aux femmes tragiques<\/strong><\/h5>\n\n\n\n

Dans un solo qui m\u00eale vid\u00e9o amateur, extraits d\u2019\u00e9mission t\u00e9l\u00e9 et chants bretons, le performeur Gwendal Raymond rend hommage aux femmes tragiques, gr\u00e2ce \u00e0 l\u2019esth\u00e9tique drag. Un mille-feuilles de r\u00e9f\u00e9rences ambigu, qui d\u00e9nonce la machine infernale du show<\/em> business<\/em>.<\/p>\n\n\n\n

Belinda Mathieu<\/strong> \u2013 critique fran\u00e7aise<\/p>\n\n\n\n

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Dos \u00e0 nous d\u00e9j\u00e0 sur sc\u00e8ne, une silhouette f\u00e9minine est assise sur une chaise de trois-quarts, v\u00eatue d\u2019une longue robe \u00e0 sequins argent\u00e9e. Elle se retourne, on d\u00e9couvre son maquillage, entre Pierrot et esth\u00e9tique du drag : du blanc \u00e9tal\u00e9 sur une base rouge, un visage serti de perles. Il lui conf\u00e8re une allure de cr\u00e9ature non-humaine, presque une alien. Derri\u00e8re le fard et les paillettes, il y a Gwendal Raymond, danseur d\u2019origine bretonne, impr\u00e9gn\u00e9 de danses traditionnelles, de hip-hop, du voguing<\/em> et ancien \u00e9tudiant aux Beaux-Arts de Brest. Avec Gwerz<\/em>, solo aux multiples couches de r\u00e9f\u00e9rences, il rend hommage gr\u00e2ce aux codes des drag shows \u00e0 des femmes tragiques broy\u00e9es par le succ\u00e8s, entre stars du show business<\/em> et h\u00e9ro\u00efnes des chants bretons.<\/p>\n\n\n

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Avec Gwerz, Gwendal Raymondexplore dans une s\u00e9dimentation de r\u00e9f\u00e9rences la question de la place des actrices. Photo : Jeanne Bidon<\/figcaption><\/figure>\n<\/div>\n\n\n

Tour \u00e0 tour en manteau de fausse fourrure blanc tachet\u00e9, gant\u00e9 de noir ou torse nu en cale\u00e7on beige, il donne corps \u00e0 des voix de femmes gr\u00e2ce \u00e0 la technique du lipsync <\/em>(performance embl\u00e9matique des shows drag centr\u00e9e sur la synchronisation labiale avec les paroles d\u2019une chanson). Ces voix sont celles de chanteuses \u2013 Axelle Red, Vanessa Paradis, V\u00e9ronique Sanson, Lorie et Bjork \u2013 toutes re\u00e7ues dans l\u2019\u00e9mission embl\u00e9matique En Apart\u00e9<\/em> diffus\u00e9e sur Canal + et pas toujours \u00e0 l\u2019aise face aux questions intrusives de la journaliste Pascale Clark. Il continue sa performance avec un lipsync<\/em> de gwerz, des m\u00e9lop\u00e9es bretonnes lancinantes, qui racontent ici des destins tragiques de femmes. Deux exemples qui r\u00e9v\u00e8lent un des enjeux du drag : magnifier les femmes et la f\u00e9minit\u00e9 en incarnant des personnages hyperf\u00e9minins, en les mythifiant par la m\u00eame occasion.<\/p>\n\n\n\n

Marilyn Monroe, fil conducteur de la pi\u00e8ce, y appara\u00eet comme un arch\u00e9type\u00a0: actrice broy\u00e9e par la machine \u00e0 succ\u00e8s, sex symbol<\/em> hollywoodien que la sant\u00e9 mentale d\u00e9faillante et les addictions ont probablement pouss\u00e9 au suicide. Si leur voix et des archives vid\u00e9o \u00e0 leur sujet sont diffus\u00e9es, leurs images demeurent absentes. Peut-\u00eatre pour convoquer une pr\u00e9sence qui r\u00e9siste \u00e0 la r\u00e9ification et \u00e0 la sexualisation, peut-\u00eatre pour signifier leur d\u00e9litement et leur disparition\u00a0? Si le suicide final ou le remake<\/em> de la sc\u00e8ne du Silencio de Mulholland Drive<\/em> de David Lynch (qui d\u00e9nonce la mani\u00e8re dont Hollywood condamne \u00e0 mort ses actrices) lui conf\u00e8rent une teinte funeste, Gwerz<\/em> demeure empreint de tendresse, de bienveillance et d\u2019humour. En t\u00e9moigne la visite film\u00e9e du cimeti\u00e8re o\u00f9 repose Monroe, par une fan, qui d\u00e9clare na\u00efvement\u00a0: \u00ab\u00a0Elle est en s\u00e9curit\u00e9 ici\u00a0\u00bb. Et si Gwerz <\/em>\u00e9tait un refuge pour ces femmes aux destins tragiques\u00a0?<\/p>\n\n\n\n

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Longue vie aux roi(eine)s<\/strong><\/h5>\n\n\n\n

Le festival FAME a pris fin entre les murs du C12, un espace pluridisciplinaire o\u00f9 le monde du clubbing<\/em> se m\u00eale \u00e0 celui des arts de la sc\u00e8ne. Cette Fermeture(s)<\/em> a rassembl\u00e9 les festivaliers et festivali\u00e8res, \u00e9parpill\u00e9\u00b7es depuis une semaine dans les diff\u00e9rents th\u00e9\u00e2tres de la ville, autour d\u2019un cabaret de Drag, pour une ultime tentative \u00ab d\u2019ouverture[1]<\/sup><\/a>\u00bb.<\/p>\n\n\n\n

Alexie Legendre<\/strong> \u2013 critique qu\u00e9b\u00e9coise<\/p>\n\n\n\n

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Dans une salle aux allures brutalistes, un public nombreux s\u2019est entass\u00e9 entre les colonnes de b\u00e9ton pour apercevoir la dizaine de Drag Queens et Drag Kings rassembl\u00e9e par le festival pour pr\u00e9senter \u00e0 tour de r\u00f4le un num\u00e9ro de leur cru. Ce qui liait les diff\u00e9rentes performances entre elles rel\u00e8ve des codes du Drag : des aptitudes de lypsinc impressionnantes (pratique courante de ces spectacles qui consiste \u00e0 bouger les l\u00e8vres aux m\u00eames rythmes que la chanson originale) ; des costumes flamboyants soumis \u00e0 un effeuillage graduel, r\u00e9v\u00e9lant ainsi de mani\u00e8re spectaculaire des \u00e9l\u00e9ments cach\u00e9s ou des parcelles de nudit\u00e9 ; ainsi que des mouvements et gestes tendant \u00e0 d\u00e9construire le genre, \u00e0 le rendre pluriforme.<\/p>\n\n\n

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Pendant pr\u00e8s de trois heures, ce cabaret a vu se succ\u00e9der les artistes et les d\u00e9constructions des normes de genre. Photo : Samy Soussi<\/figcaption><\/figure>\n<\/div>\n\n\n

C\u2019est d\u2019ailleurs ce travail de m\u00e9tamorphose du genre et de ses normes rigides qui a \u00e9bloui la sc\u00e8ne ce soir-l\u00e0, notamment celui entrepris par les Drag Kings Zack et Ernesto Coyotte. Tous deux se sont distingu\u00e9s par leur capacit\u00e9 \u00e0 se mouvoir avec gr\u00e2ce et habilet\u00e9 dans l\u2019espace. Habill\u00e9s sobrement avec des \u00e9l\u00e9ments qui renvoyaient \u00e0 un clich\u00e9 de la masculinit\u00e9, comme une veste en jean, un bonnet de laine, des bottes de cuir, un marcel ou une montre en or, ils ont charm\u00e9 avec \u00e9l\u00e9gance l\u2019audience par une chor\u00e9graphie entra\u00eenante, aux prouesses physiques impressionnantes o\u00f9 l\u2019\u00e9l\u00e9gance et la sensualit\u00e9 se fondaient dans une succession de gestes plus brusques, dominants et rigides. Lorsque Zack, pour ne citer que ce moment, est pass\u00e9 d\u2019un personnage de rappeur \u00e0 une b\u00eate de sc\u00e8ne au genre \u00e9clat\u00e9, les frissons ont \u00e9t\u00e9 imm\u00e9diats : d\u2019une t\u00eate rentr\u00e9e dans les \u00e9paules, les mains repli\u00e9es devant soi, le bassin pench\u00e9 vers l\u2019avant, le performeur a enlev\u00e9 son couvre-chef dans un geste dramatique, r\u00e9v\u00e9lant une longue chevelure blonde et une tra\u00een\u00e9e de paillettes. \u00c0 ce \u00ab reveal \u00bb a succ\u00e9d\u00e9 un changement dans sa mani\u00e8re de se d\u00e9hancher, rendue alors beaucoup plus langoureuse, impliquant des rotations des hanches et une souplesse nouvelle.<\/p>\n\n\n\n

Dans ces num\u00e9ros, ce sont les glissements qui cr\u00e9aient le drame, le flamboyant. La magie se trouvait aux fronti\u00e8res des gestes et des apparences. Bien que la qualit\u00e9 des num\u00e9ros \u00e9tait in\u00e9gale et le spectacle un peu trop long (3 h), Fermeture(s)<\/em> a conclu avec panache le festival, ouvrant la porte \u00e0 de nouvelles mani\u00e8res d\u2019\u00eatre dans la performance.<\/p>\n\n\n\n

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Sexual Pleasure on Our Own Terms<\/strong><\/h5>\n\n\n\n

One of the key missions of FAME was to present performances made by women and gender minorities, meaning it was equally important what the productions were about<\/em> as who<\/em> created them. The female point of view played an especially vital part in Camille Husson\u2019s one-woman show Sexplay<\/em>.<\/p>\n\n\n\n

Iva Heribanov\u00e1<\/strong>\u2014Czech critic<\/p>\n\n\n\n

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Barefoot, dressed only in a plain white T-shirt and blue jeans, performing on an almost empty stage, Camille Husson tells the story of her journey towards sexual liberation. She does so through short episodes of discovery in the realm of intimate pleasure, in no particular order, based on either her memory or fantasy, most often probably a mixture of both. First encounter with conventional porn-magazines, imaginative exploration of masturbation, first sex with a boy, visit to a Berlin sex club and more are all recalled with equal importance and in a mesmerizing flow. Each change in the setting of the situations and the emotions connected to them are instantly conveyed not only through Husson\u2019s lively acting and accompanying sound design but also thanks to the lighting, which performs as a partner to the actress. Indeed, the scenography consists solely of three sources of light: two bulbs hanging on opposite sides of the stage and, back centre, a scenographic object consisting of several fluorescent tubes that create a rectangle with an X inside.<\/p>\n\n\n

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Alone on stage, where her personal story becomes, for Camille Husson, the discovery of her body and desires. Photo: Bartolomeo La Punzina<\/figcaption><\/figure>\n<\/div>\n\n\n

While watching Sexplay<\/em>, one can either try to untangle the episodic fragments into a chronological narrative or think of them more as free association on the topic of overcoming the male gaze in seeking sexual pleasure. The images of passive women in the porn magazines, stylized to please heterosexual men, contrast with Husson\u2019s urge for agency in her sex life. Dozens of metaphorical expressions for female genitalia (\u201chedgehog,\u201d \u201cbox of champagne\u201d) are brainstormed, until Husson chooses to call her vulva \u201cpanther,\u201d a significantly active association. She makes a list of paraphilias starting with each letter of the alphabet (formed from the fluorescent tubes behind), which subvert the importance of genital stimulation. In one of her fantasies, she ventures into an alternative sexshop and discovers the power of the mint crystals that her grandmother kept by her bed for years.<\/p>\n\n\n\n

Yet, the empowering message of the piece is perhaps best embodied in a scene quite early in the performance, in which Husson transports us to a Berlin sex club by simply taking off her T-shirt. Suddenly, the actress dances in front of the audience half-naked, a fluorescent pattern depicted on her bare chest and back. The gesture is clear: her nude body and sexuality are hers to unveil, and she does so on her own terms.<\/p>\n\n\n\n

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Time and Space Changeability in the Modern Life<\/strong><\/h5>\n\n\n\n

Sofia Nadibaidze<\/strong>\u2014Georgian critic<\/p>\n\n\n\n

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The choreographic performance Deep<\/em> Time, <\/em>directed by the Swedish-Finnish choreographer Virpi Pahkinen, illustrates and explores modern life\u2014as time and space. In this performance, the dancers (including Virpi Pahkinen herself) represent the essence of humanity in the world. The team explores the labyrinth of the human soul and brings it to life in an authentic way.<\/p>\n\n\n

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Either human or animal figures, the characters evolve in a harmonious universe. Photo: Jos\u00e9 Figueroa<\/figcaption><\/figure>\n<\/div>\n\n\n

The musical concept is essential: mystical and ritual music\u2014a singer on stage performs the sacred songs of Hildegard of Bingen\u2014alternates with modern and electronic sounds allowing the choreography to develop in various forms. The dancers merge with each other in multiple ways: the show moves from collective to individual dance sequences, from one stage movement to another, synchronously and sometimes even chaotically, leading them to transform into zoomorphic figures. The staging, through the creation of a specific scenic lighting, forms various dramatic structures that gradually create certain stories. The work creates a mystical and sacred atmosphere through music, lighting, colorful and stylized stage costumes, and choreography. The movements and gestures of the body, expressing themselves clearly, create a lively and vibrant atmosphere. <\/p>\n\n\n\n

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How to Know What\u2019s Happening and Still Stay Naive<\/strong><\/h5>\n\n\n\n

The first edition of Brussels-based festival FAME had a fruitful purpose: to enable marginalized artists talk about their interests. It was great though not unexpected to see that their souls cry for the same reasons as souls of established artists. KillJoy Quiz<\/em> is one of the best examples.<\/p>\n\n\n\n

Au\u0161ra Kaminskait\u0117<\/strong>\u2014Lithuanian critic<\/p>\n\n\n\n

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Even though my favourite show in FAME was Gwerz<\/em> by French artist Gwendal Raymond, I strongly feel I must review another, which contains qualities I find representative for the whole festival. Produced by the well-known theatre NTGent, KillJoy<\/em> Quiz<\/em> was created by Luanda Casella, also taking the role of a show host. She gathered a team of non-white female performers and created a TV-game-like show where two participants fought with their knowledge to gain a winner\u2019s glory. Five rounds of the game are followed by short and wonderfully ironic musical interludes, performed by three musicians.<\/p>\n\n\n

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Borrowing the codes of a TV quiz, KillJoy Quiz<\/em> (interpreted by Yolanda Mpel\u00e9. Lindah Nyirenda and Luanda Casella, and by singers Ma\u00efmouna Rachels, Timia Van der Linden, Helena Casella) skewer oppressions with humor. Photo: Michiel Devijver<\/figcaption><\/figure>\n<\/div>\n\n\n

In each round, the well-read participants must answer questions or complete tasks, which comically reflect various disasters made by human beings. Those include colonialism, racism, misoginy, climate change, emigration, hate and so on. Unlike the musicians, three actresses occasionally failed to show an ironic attitude towards human behaviour. Sometimes, the characters seemed too shallow due to annoying pauses and illogical jumps from one emotion to another. This may suit the atmosphere of a television show, unless the difference between an artist’s position and their character’s position is not articulated well enough. In KillJoy<\/em> Quiz<\/em>, this difference, which is supposed to create an irony, isn\u2019t made clear, since the artists keep randomly jumping between their character’s attitude and their own.<\/p>\n\n\n\n

The show’s creators have chosen a perfect form for exposing the high level of damage caused by human existence. In the quiz, a harm is shown as a well known fact and as part of human culture. It makes sense, since that\u2019s how we live\u2014knowing what\u2019s happening around us, knowing the consequences of our behaviour but mostly choosing to let the elephant stay in the room. In a way, the creators of KillJoy<\/em> Quiz<\/em> did the same. I was mad that they ignored Russia\u2019s war on Ukraine, even if they mentioned Putin\u2019s name in one of the rounds. One character was asked to match the quotes to their authors. And while the chosen words by Idi Amin or Silvio Berlusconi reflected a disrespect for human rights or a disregard for public and private interests, Putin\u2019s quote was: \u201cMy English is very bad.\u201d For a Lithuanian, who knows how horribly Putin\u2019s army has been killing and torturing people in Ukraine right now, such silence feels disrespectful, though I understand that such ignorance can blossom in a significant part of francophone countries. Theatre is just a mirror of society, isn\u2019t it? KillJoy<\/em> Quiz<\/em> showered me with problems and made me angry seeing how equally (not) important they are. At the same time, without any aggression, it let me feel how different people perceive the same world, in which we cannot be equally concerned about everything.<\/p>\n\n\n\n

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<\/a>Endnote<\/strong><\/h5>\n\n\n\n

[1]<\/sup><\/a> \u00ab Ouverture \u00bb \u00e9tant le th\u00e8me de la premi\u00e8re \u00e9dition du festival.<\/p>\n\n\n\n

Copyright \u00a9<\/strong> 2022 Caroline Ch\u00e2telet
Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN:2409-7411<\/p>\n\n\n

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\"Creative<\/a><\/figure>\n<\/div>\n\n\n

This work is licensed under the
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