Creative research laboratory - Lyon
Theater / Dance / Circus / Music
de création artistique – Lyon
From 27 to 30 March
L’Homme de boue* is first and foremost body oriented, based on research into a body in transformation. There is metamorphosis of shape, like clay when it is liquid, solid, or crumbly, as the body evolves into different states. And there is metamorphosis of meaning as the mud man, a primal being in the process of becoming mythical, mocks all of humanity and its evolution.
The image of humans struggling to stay upright, vainly seeking elevation to live out their human condition, falling only to pick themselves up and fall again, this never-ending obsession that has no beginning or end, raises interesting questions for playwrights.
We will work in fragments, breaking up the narrative because the issue is not to follow this person’s destiny but to see how he struggles. This is precisely the point of this piece: to live this never-ending struggle.
Muddled feelings: the sensuality of returning to the mud, fright at the deep existential solitude, difficulty in being straight while being curved—that’s the intriguing beauty of the spinal column, being vertical while being made entirely of curves, and it’s these curves that give the structure its strength. Such beauty has a name: Kundalini.
*Translator’s Note: homme de boue (man of mud) is a play on homme debout (homo erectus, or upright man).
Conception et interprétation : Nathan Israël
Texte: Claude Louis-Combet
Mise en scène : Luna Rousseau
Music: Théo Girard
Construction : Napo
Création lumières : Vincent Maire
Administration : Fred Cardon
Diffusion : Lucie Robert
La Scabreuse: aesthetically, Nathan Israël’s work, and that of La Scabreuse, features a formal attempt to take liberties. We give ourselves permission to use axioms that contradict each other. That’s what we call scabrage: mixing up the noble and the vulgar, the rich in meaning and clown-like silliness, depth and superficiality, playful enjoyment and the tragic.
First and foremost, La Scabreuse (Nathan Israel, Julie Mondor, Tom Neal, Jean-Michel Guy and Fred Cardon) is an artistic morality: work only with people you like, take the time for research and writing, create cooperatively, draw the audience in without flattering it. It’s a style: we use a variety of registers (tragic, burlesque, clown-like, meditative, etc.), give the end-product priority over technical means and expertise, and try to create an environment that’s both mysterious and familiar.
Nathan Israël: After training at Espace Catastrophe (Bruxelles), ENACR (Rosny-sous-Bois), and CNAC (Chalons-en-Champagne), Israël co-created two companies: La Scabreuse and the Cheptel Aleikoum.
Since 2006, he has co-authored and performed in various circus-theater pieces with La Scabreuse: [ Taïteul ] in 2006, La Mourre in 2009, and Lard in 2011. In addition to these “long” creations, he has also created short forms: Le Paillasson in 2007, Lardon in 2008, and Avant l’homme de boue in 2011. La Scabreuse is also his main vehicle for participating in artistic and cultural actions, in particular the circus commandos with the Parc de La Villette, and juggling/dance workshops and classes in various types of organizations (circus schools, theaters, middle and high schools, prisons, etc.).
Israël is a juggler, dancer and actor whose work involves the search for and expression of existential and social meanings. The various topics of his creations differ from each other yet form a whole. From memory ([ Taïteul ]) to social criticism (La Mourre) via power and animality (Lard), a prism of meaning may be discerned and summed up as the trouble humans cause themselves.