with Brotherhood, a wonderful tale, Director Caroline Guiela Nguyen experiments with sci-fi symbols, but she draws on reality to make an animated scene. Until January 15th in Célestins.
From Christopher Nolan to Alfonso Cuarón, via Denis Villeneuve, the cinema and science fiction series creates new fictional forms to imagine the future. Because it’s not about saving humanity – like in the old days the movies The nineties – from the search for his soul. This undoubtedly reflects a new awareness of our responsibilities to the future of our planet, rather than a view of external threats.
In a way, this ring-shaped interaction of man and the universe is what Caroline Gila Nguyen explored in her latest show, Brotherhood, a wonderful tale, who ventures into the world of science fiction.
The starting point for this piece is the sudden and unexplained disappearance of a part of humanity during a solar eclipse. Faced with the loss of their parents, children, or companions, men and women of all ages and origins organize to help one another in “centres of care and solace.”
Between denial and hope, they search for a way to reconnect with the missing, by recording messages as time capsules or while waiting to reproduce the phenomenon, which they hope will return their loved ones.
However, each of their failures gradually lowers their hopes, just as their heartbeat decreases over time, causing a revolution in the universe.
What must we erase from his memory to continue living?
It’s very rare for theater to capture science fiction, a genre that requires resources that no stage provides. But where cinema can deploy expensive technology and calibrated suspense, the brothers He masterfully exploits the language of theater, its new scenic possibilities – like video – and the art of live play, evoking emotions that always keep the spectator at human level.
How do you interact with absentees? How to maintain hope or, conversely, accept the loss of a loved one. What must we erase from his memory in order to continue living?
In fact, what we track the brothers It is above all a path to resilience. Faced with the inability to grieve or the impossibility of regaining lost happiness, everyone becomes a “helper”. And from the strength of what binds us to others, the result will come.
A connection that was weak at first, due to the cultural barriers of these women and men of all nationalities, but is gradually woven by the language. Here, we help each other through translation, each one in turn the carrier of this linguistic brotherhood.
Because the show was on – that was the case in Caroline Guiela Nguyen’s latest creation, Saigon – In the original languages of the actors, such as many pieces of a puzzle that must be put together.
In the same way, the cast includes non-professional actors who have talentedly managed to free themselves from a coordinated game, while preserving their social and cultural identity. As if they were playing their own role, which imagination – so far as my future – cannot erase.
in a the brothersCaroline Gila Nguyen and her band have managed to break the rules of science fiction by drawing on the diversity and richness of the real world. Thus they present us with a great human spectacle.
Brotherhood, a wonderful tale, At Célestins Théâtre de Lyon, until January 15th. www.theatredescelestins.com
“Subtly charming problem solver. Extreme tv enthusiast. Web scholar. Evil beer expert. Music nerd. Food junkie.”