Théâtre de L’Ange Fou, Memories of Unknown Ties

Review in Issue 9-1 | Spring 1997

Overall this was a strange mix of sterility and extreme warmth – half way between a presentation of work-in-progress and a beautifully crafted montage of images. It is said that if a performance was not going as he wanted, Decroux would stop it and insult the audience if they laughed. There were moments in this piece, when I felt uncomfortably drawn into what felt like the smug and elitist world of mime for mimes. However, the extremely valid and passionate work carried out under the direction of Steve Wasson and Corinne Soum must be applauded and I am the first person to support exploratory experiments, audience or no audience.

There was an enormous pleasure in the performing, an extreme awareness and alertness. There was a very satisfying execution of images and some excellent physical work. Every elongated movement seemed to mean something and all the performers used a fascinating combination of broken-up, isolated movements mixed with a flowing, smooth physicality which made them mesmerising to watch.

The climax was the curtain call. It was then that I really felt the pleasure of it, the celebration of Decroux and the sheer joy of performing. Ironic really, considering Decroux was disinterested in performing in front of uninitiated audiences. But then again I suppose he would consider a BAC/LIMF audience to be initiated. Or would he?

Presenting Artists
Presenting Venue
Date Seen
  1. Jan 1997

This article in the magazine

Issue 9-1
p. 22