In her new creation, Marie-Caroline Hominal, choreographer, dancer and performer, inverts the relationship between the choreographer and the interpreter. The person she has chosen to direct her is Markus Öhrn, a visionary figure within the European arts scene, whose shows vehemently denounce the control that Western patriarchy has over beings and bodies. As the author of the production, Hominal voluntarily places herself under the authority of the director, Öhrn.
Indeed, the relationship where a man decides what will happen to a woman is one that is familiar to Markus Öhrn. It made a mark on the life of his grandmother, who died a few years ago. She lived in a village in the north of Sweden and was under the total control of the grandfather, a strict and uncompromising patriarchal figure. She was a good mother, a good wife and a good Christian, following social customs and her husband’s orders. Not long before her death, Markus Öhrn asked her what she would do if she could live her life over again, and she replied, quite unexpectedly, that she would be more destructive and would follow her own wishes more often.
Markus Öhrn has transformed Marie-Caroline Hominal into the Lazarus-like reincarnation of his grandmother, appearing on stage thanks to the masks of theatre and with a transgressive vitality. Here, theatre is the means by which order is renounced to liberate desire and vitality.
Marie-Caroline Hominal and Markus Öhrn
For Marie-Caroline Hominal, dance is space for transformation; she is interested in how the body’s metamorphosis drives a change in the audience’s gaze. She presents nocturnal beings that evolve in the interval between nights that never end, partway between intimacy and artifice, manipulation and letting-go. Here, dance is the other name for the identity that floats between interiority and fantasy.
For their part, Markus Öhrn’s productions call on a cruel grotesqueness that forcibly exaggerates the oppression inherent to perverse family situations. The acting and scenography, as well as the music, are subjected to a brutal, almost nightmarish deformation, yet all the while making the structures and logic of domination explicit.
Technical direction, sound and graphism:
Marie-Caroline Hominal, Markus Öhrn
MadMoiselle MCH association, Genève – Théâtre Vidy-Lausanne
TU-Théâtre de l’Usine, Genève
With the support of:
Loterie Romande, Fondation Nestlé pour l’Art MadMoiselle, Pro Helvetia Swiss Arts Council
M.O. / Théâtre Vidy-Lausanne