DRAMATURGY

The vast reflection of our human existence is a field of research that seems to me to be the foundation of any work or artistic act. Imagining that an Angel speaks on stage is obviously delicate but fascinating from a metaphorical point of view but also plastic and puppetry.
Many works have influenced me, including Wim Wenders' film, Wings of Desire. This sentence from the director during a conversation with Serge Daney spoke to me a lot: "It is to be able to show humans that I invented angels."
Through this project, we seek a human dialectic. We define this Angel as a messenger without function, without theological references. He no longer seems attached to a God or to a defined religion.
Inventing an angel who misses eternity is a theatrical impulse in the service of a broader message about our humanity and our fantasy of immortality. I immersed myself passionately in various texts, because it is not only religions that promise us the continuation of our existence after death in the afterlife, but also philosophy, which has in some way taken up this unconscious belief. Freud wrote that "no one, deep down, believes in his own death or, what amounts to the same thing: in the unconscious, each of us is convinced of his immortality". In the encounter between Phaedrus and Socrates, Plato calls upon a myth, that of the pre-empirical life of the soul, before its fall into a body, to encourage us to "bet", as Socrates does, on the immortality of the soul. To imagine this project, I let myself be carried away by the writings of Spinoza, Hegel or Husserl (the founder of phenomenology) to nourish this character lost in the immensity of the human soul.

This project is a solar reaction to our humanity that sometimes seems to have lost the taste for life, the taste for tiny pleasures. Through this angel, a dreamlike figure, we seek to create a celestial outlet to try to reactivate luminous and combative protest in our human lives.

If even angels have the blues then…!

But the spleen of this Angel is not so Baudelairean. The writing of the show could be likened to a profane and free oratorio alternating visual and instrumental sequences performed by three musicians on stage with sung introspections written by contemporary authors.
Our musical references are hybrid, raw and mix accents of classical music with the sounds of cello, violin, vibraphone and more electronic textures under the influence of Björk, Bot'Ox, Laake.