– “Rouge Nord”, a cheeky road movie in a scruffy setting
Cirque Pardi! bewitched Platform 10 on 1er August before climbing to the Cirque au Sommet festival.
She hoists herself, sassy, on the roof of an old dilapidated Mercedes, as if she had escaped from a Tarantino film. Carola Aramburu radiates, in the mineral courtyard of Platform 10, as a barred heroine of “Rouge Nord”, a road movie on track orchestrated by the acrobats of the Cirque Pardi! on the sidelines of the Lausanne festivities of the 1er august, in the presence of Ignazio Cassis.
Monday evening, the Toulouse troupe was only able to present – protocol obliges – a digest of its captivating cinematographic fresco. To see the entire show, you will have to climb up to the festival Circus at the topin Crans-Montana, from Thursday to Saturday.
Our own movie
At the foot of the west facade of the MCBA, the telephone rings in a withered booth. Carola enters, picks up, monologue. A construction crane grabs the cabin. Swaying through the air, the heroine whispers… “I’m here, but I could be somewhere else.”
Outside, the sizzle of a guitar becomes more and more heady. The musician Antoine Bocquet, standing on his scaled construction hut, unpins a hypnotic electro sound on his keyboards. Lynch is not far away…
Extracted from her glass cage, the heroine stands, roaring, on the dented car, soon joined by a scruffy man, skinned alive in search of balance (Timothé Loustalot Gares). The duo dances between the windows of the car which skids in a cloud of dust. The story of this wandering couple in a decrepit world? It’s up to us to imagine our own film.
“These are two characters who have a very strong bond and who play ‘flee me I follow you, follow me I flee you.’ They are going through an intense moment, as we all experience, describes Timothé Loustalot Gares, caught after the performance. Little by little, the texts make it possible to grasp pieces of their common experience.
The couple resumes their dance, electrifying. The music pulses. The antiheroine swapped her ocher dress for a bright red tutu. She climbs on the vintage sign of a “Café – Hôtel Saturne”, embraces and unrolls, sensual, burlesque, around the metal rods. “Perfectionism is violence,” she proclaims to the crowd. In the distance, a man dressed in black chants a sublime Bashung-style poem.
Suddenly silence. A wire stretches between the crane and the front of a truck. Perched up there, without a net, Timothé Loustalot Gares rushes on the tightrope. And while the music resumes, hovering, the acrobat advances towards the huge museum ship. Grand apotheosis.
meeting of the arts
This national holiday also marked the occasion to recall the vocation of Platform 10: the arts take their ease in the Lausanne cultural centre, thought of as a place of interdisciplinary exchanges. Last month, the facade of the Mudac and Photo Élysée museums turned into a giant screen of three projections offered by the Locarno Festival. On Monday, the circus arts punctuated the presidential visit: the company My! Laika offered a series of impromptu, festive preludes to the bold performance of his acolytes from Cirque Pardi!
At the crossroads of disciplines, the grandiose “Rouge Nord” undulates between circus arts, visual effects, music, theater and cinema. “We wrote this score collectively and we tried to create a link between the sound, the visual effects and the decor by referring to the 80s. This period gives a texture to the whole,” says Timothé Loustalot Gares. Monday, the public of Platform 10 will have seen only snippets of this disturbing, dreamlike spectacle, beautiful in its strangeness. So, go to Crans-Montana!
Natacha Rossel is a cultural journalist and covers the performing arts. Holder of a Master’s degree in Sciences of Antiquity, she has been working at “24heures” since 2012. She went through the Vaud & Regions and Web sections. More informations@NatachaRossel