“A sea of ​​love”: diving into a deep pool of talent

The RéciDives Festival is already full in Dives-sur-Mer. In programming, Sea of ​​love, from the company La Salamandre, is a very nice proposal for all spectators, parents and children. A simple and touching story adapted from the comics of Wilfrid Lupano and Grégory Panaccione, amplified with a play and an interpretation with little onions.

Two little gray and little maniacal office workers folded the papers in the assembly line. Behind their large desk, shelves and storage lockers, gray too. Who would have guessed that the two friends had an amazing invention? However, when it’s lunch time, they will make their company a stage in the theater where they will give, before our eyes, the full measure of their creativity.

This is the starting point ofSea of ​​love, which has the effect of theater theater presented with simplicity but also with good skill. And that’s, in fact, the whole show: unpretentious but extremely generous, easy to use but flawless in terms of writing, filming and acting. and his wife looking for him. A journey for a return to square one, the separation that gives reunion value, with all the adventures that separate them. The Iliad and the Odyssey, contemporary and abridged versions.

The approach is paper theater, which clearly fits into the office meta-universe. Folds, pop-ups, paper silhouettes tell the story, with pointless but elegant lines and shapes. These are all sources of this family of techniques put into the service of the story, requiring no words (but no grommelot): it will fly away, it will break, it will tear, it will cut, it will fold and unfold, it can be stored and released as if nothing had happened, it lends itself to a brief shadowy theatrical scene. Wisely used, role theater allows for incredible things, the awakening of the whole world and situations as realistic as one, and Sea of ​​love a good demonstration.

We felt a desire to stay within reach of a young audience, without sending ease or a stupid drift. Denis Athimon’s play that it’s tailored to the hair doesn’t even do it justice: it combines perfect mastery of detail and overall vision, the sense of movement with the accuracy of tempo. . Not a little. Scene writing explodes all over the woods: wide shots and tight shots, incarnation of paper puppets – or even paper objects, the trawler can be for example the metaphor of the sailor that took place there. -or the actors, the transitions of the viewing angle, repeatedly between two different places, all are perfectly clear, and perfectly fluid, with an economy of ways that make the process so elegant.

As for the performers, they are Samuel Lepetit and Christophe Martin, their lead in the ensemble is very clear. Their rhythm and their movements are well-arranged, they combine the differences in the intensity of the play and story by fully entering into what they have to say. A beautiful combination binds them together, showcasing their different characters. If we want to recognize that the show is bathed in love, at least as much as they do like the story. And they were perfectly deserving of the thunderous applause that greeted them at the end of the show, given the level they gave themselves without restraint.

We can only recommend this show that combines accuracy and intelligence, is as dynamic and it is enjoyable.

The show will play again on Saturday 16 at 1:30 p.m.


Design: Laura Durnez | Facebook facebook Alain Moreau to contact Dorothee Schoonooghe,
Play: Laura Durnez | Facebook Facebook logo Sign up for Facebook to connect with Arnaud Lhoute Dorothee Schoonooghe
Director: Alain Moreau
Music: Max Vandervost
Director: Arnaud Lhoute
Scenography, puppets and props: Alain Moreau | Celine Robaszynski | Odile Dubucq
Costumes: Celine Robaszynski
Put the construction and quibbles in the trailer: Matthieu Chemin | Facebook Facebook logo Sign up for Facebook to connect with Amaury Bertels Jean-Christophe Witmeur | Magda Kulaga | Antoine Steier
DJ Coach: Klaus Carter
Photo: (c) Stephane Michel

Mathieu Dochtermann

Enthusiastic about live performance, in all its forms, particularly puppet theaters, circus and street arts as well, and still the theater of comedians, in spite of everything. Practice the clown, little, the story, moreover, the theater, always, the laughter, always. The central measure of a good performance: the one that moves, touches the sensitive object under the chest. Some chatter. Facebook: https://www.facebook.com/matdochtermann

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