{"id":1796,"date":"2022-12-08T09:48:51","date_gmt":"2022-12-08T08:48:51","guid":{"rendered":"http:\/\/umoove.art\/?p=1796"},"modified":"2022-12-08T09:50:27","modified_gmt":"2022-12-08T08:50:27","slug":"the-crimson-house-lemi-ponifasio","status":"publish","type":"post","link":"https:\/\/umoove.art\/index.php\/2022\/12\/08\/the-crimson-house-lemi-ponifasio\/","title":{"rendered":"The CRIMSON HOUSE &#8211; Lemi Ponifasio"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"1796\" class=\"elementor elementor-1796\" data-elementor-post-type=\"post\">\n\t\t\t\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-c69dc39 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"c69dc39\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-c7d3508\" data-id=\"c7d3508\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-95b14ea elementor-widget elementor-widget-image\" data-id=\"95b14ea\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=\".svg\"]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block}<\/style>\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"614\" src=\"https:\/\/umoove.art\/wp-content\/uploads\/2022\/12\/Songook-Yaakaar-Germaine-Acogny-26-1-768x614.png\" class=\"attachment-medium_large size-medium_large wp-image-1665\" alt=\"\" srcset=\"https:\/\/umoove.art\/wp-content\/uploads\/2022\/12\/Songook-Yaakaar-Germaine-Acogny-26-1-768x614.png 768w, https:\/\/umoove.art\/wp-content\/uploads\/2022\/12\/Songook-Yaakaar-Germaine-Acogny-26-1-300x240.png 300w, https:\/\/umoove.art\/wp-content\/uploads\/2022\/12\/Songook-Yaakaar-Germaine-Acogny-26-1-1024x819.png 1024w, https:\/\/umoove.art\/wp-content\/uploads\/2022\/12\/Songook-Yaakaar-Germaine-Acogny-26-1-1536x1229.png 1536w, https:\/\/umoove.art\/wp-content\/uploads\/2022\/12\/Songook-Yaakaar-Germaine-Acogny-26-1.png 2000w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/>\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-30f2475 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"30f2475\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-6c5742f\" data-id=\"6c5742f\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-e17f722 elementor-widget elementor-widget-heading\" data-id=\"e17f722\" data-element_type=\"widget\" data-widget_type=\"heading.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-heading-title{padding:0;margin:0;line-height:1}.elementor-widget-heading .elementor-heading-title[class*=elementor-size-]>a{color:inherit;font-size:inherit;line-height:inherit}.elementor-widget-heading .elementor-heading-title.elementor-size-small{font-size:15px}.elementor-widget-heading .elementor-heading-title.elementor-size-medium{font-size:19px}.elementor-widget-heading .elementor-heading-title.elementor-size-large{font-size:29px}.elementor-widget-heading .elementor-heading-title.elementor-size-xl{font-size:39px}.elementor-widget-heading .elementor-heading-title.elementor-size-xxl{font-size:59px}<\/style><h2 class=\"elementor-heading-title elementor-size-default\">Noirceur d\u2019un monde sous contr\u00f4le<\/h2>\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-a02b416 elementor-section-boxed elementor-section-height-default elementor-section-height-default\" data-id=\"a02b416\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-4918881\" data-id=\"4918881\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t\t\t<div class=\"elementor-element elementor-element-badc389 elementor-widget elementor-widget-text-editor\" data-id=\"badc389\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.14.0 - 26-06-2023 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<p><strong>En 2010, on d\u00e9couvrait pour la premi\u00e8re fois en France, le chor\u00e9graphe samoan Lemi Ponifasio avec sa pi\u00e8ce <em>Tempest&nbsp;: Without a Body<\/em>. De nouveau au Th\u00e9\u00e2tre de la ville, l\u2019ann\u00e9e suivante, il pr\u00e9sentait <em>Birds with Skymirrors<\/em>. <em>The CRIMSON HOUSE<\/em> est la derni\u00e8re pi\u00e8ce, qu\u2019il nous propose.<\/strong><\/p>\n<p><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">Lemi Ponifasio explore ici un monde o\u00f9 tout semble contr\u00f4l\u00e9, r\u00e9gul\u00e9. Chacun de nos faits et gestes, de nos d\u00e9placements sont scrut\u00e9s, r\u00e9f\u00e9renc\u00e9s, examin\u00e9s. Rien n\u2019est laiss\u00e9 au hasard. Un oeil sup\u00e9rieur se poste au-dessus des hommes. Son impassibilit\u00e9, sa froide pr\u00e9sence, son regard per\u00e7ant, sont autant de caract\u00e9ristiques qui font de cet homme, un \u00eatre de pouvoir et de surveillance. Plus qu\u2019un veilleur, il est l\u00e0 pour nous rappeler ce qui nous \u00e9loigne de l\u2019essentiel, d\u2019une humanit\u00e9, d\u2019un environnement naturel vivant, d\u2019un rapport \u00e0 l\u2019au-del\u00e0.<\/span><\/p>\n<p>Comme dans toutes les pi\u00e8ces de Lemi Ponifasio, lumi\u00e8res, sons et d\u00e9cors toujours tr\u00e8s sombres, inscrivent profond\u00e9ment la th\u00e9matique de l\u2019artiste.<\/p>\n<p>Des lumi\u00e8res blanches \u00e0 la limite de l\u2019aveuglement, se confondent avec le noir du plateau, son rev\u00eatement brillant \u00e0 l\u2019effet de miroir, et les tenues des danseurs. On per\u00e7oit ces derniers glissants ici et l\u00e0 _entre panneaux stri\u00e9s, vid\u00e9os projet\u00e9es en fond de sc\u00e8ne, ou un grand bloc noir divisant le plateau_ avec leurs petits pas rapides, le buste droit, distribuant l\u2019espace \u00e0 l\u2019aide de leurs avants bras et doigts. D\u00e9placements et gestes pr\u00e9cis, ponctu\u00e9s de frappes sur leurs cuisses r\u00e9v\u00e9lant l\u2019\u00e9paisse mati\u00e8re de leur tenue. Ce sont autant de choses caract\u00e9risant la culture polyn\u00e9sienne auquel le chor\u00e9graphe, form\u00e9 en philosophie et science politique, appartient.<\/p>\n<p><\/p>\n<p>Chez Lemi Ponifasio, l\u2019acte artistique, s\u2019inscrit par sa nature m\u00eame autant dans le politique que dans l\u2019imaginaire. Cr\u00e9er c\u2019est \u00eatre ici et maintenant. Vivre un monde, l\u2019exprimer, et pourquoi pas bien s\u00fbr le d\u00e9noncer. Dans sa pi\u00e8ce, <em>Tempest&nbsp;: Without a Body<\/em>, il avait invit\u00e9 sur sc\u00e8ne un chef Maori, longtemps suspect\u00e9 de terrorisme mais rel\u00e2ch\u00e9 faute de preuves.<\/p>\n<p>Avec <em>The CRIMSON HOUSE<\/em>, c\u2019est l\u2019artiste transsexuelle Nina Arsenault qui est convi\u00e9e \u00e0 partager le plateau avec les sept autres interpr\u00e8tes. Et bien plus, que la radicalit\u00e9 des \u00e9clairages, et des compositions musicales (dues \u00e0 L\u00e9mi Ponifasio lui-m\u00eame et \u00e0 Dean Roberts), on est parfois \u00e0 la limite du supportable de par l\u2019intensit\u00e9 sonore, c\u2019est la pr\u00e9sence de cette femme au milieu de ces hommes qui met mal \u00e0 l\u2019aise. Compl\u00e8tement refaite, gr\u00e2ce \u00e0 plus de soixante op\u00e9rations chirurgicales, sa plastique bouleverse les codes. Entre la poup\u00e9e Barbie et la poup\u00e9e gonflable, ce corps filiforme, aux fesses, seins et l\u00e8vres pro\u00e9minents, exprime incroyablement le contr\u00f4le autant sur le corps-soci\u00e9t\u00e9, que sur le corps-individu.<\/p>\n<p>La mise \u00e0 nue de l\u2019interpr\u00e8te accentue effroyablement cette vision des corps fragilis\u00e9s, exploit\u00e9s par une soci\u00e9t\u00e9 contr\u00f4lante, pernicieuse. Pi\u00e9g\u00e9 par les dispositifs technologiques, le corps social semble d\u00e9muni, d\u00e9suni. Le rapport au cosmique, tr\u00e8s pr\u00e9gnant dans l\u2019\u00e9criture du chor\u00e9graphe, para\u00eet perdu voire exclu du monde qui se construit.<\/p>\n<p>Comment rester cet homme ancr\u00e9, rattach\u00e9 \u00e0 la terre et \u00e0 l\u2019univers, dou\u00e9 d\u2019intelligence et de d\u00e9sirs propres dans ces conditions&nbsp;?&nbsp;<span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">C\u2019est sans nul doute une des questions pos\u00e9es par Lemi Ponifasio.&nbsp;<\/span><em style=\"font-weight: inherit; background-color: var(--ast-global-color-5);\">The CRIMSON HOUSE<\/em><span style=\"font-style: inherit; font-weight: inherit; background-color: var(--ast-global-color-5);\">, est une pi\u00e8ce \u00e2pre, non pas par son sujet mais par sa mise en sc\u00e8ne, et sa forme. Beaucoup de spectateurs s\u2019en sont all\u00e9s, ceux qui sont rest\u00e9s ont applaudi avec ferveur. Une pi\u00e8ce qui ne laisse donc pas indiff\u00e9rent, mais trouve-t-elle un \u00e9cho&nbsp;?<\/span><\/p>\n<p><\/p>\n<p><strong>Fanny Brancourt<\/strong>, Th\u00e9\u00e2tre de la Ville Paris (Avril 2014)<\/p>\n<p><\/p>\n<p>\u00a9Affiche du spectacle<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>Noirceur d\u2019un monde sous contr\u00f4le En 2010, on d\u00e9couvrait pour la premi\u00e8re fois en France, le chor\u00e9graphe samoan Lemi Ponifasio avec sa pi\u00e8ce Tempest&nbsp;: Without a Body. De nouveau au Th\u00e9\u00e2tre de la ville, l\u2019ann\u00e9e suivante, il pr\u00e9sentait Birds with Skymirrors. The CRIMSON HOUSE est la derni\u00e8re pi\u00e8ce, qu\u2019il nous propose. Lemi Ponifasio explore ici &hellip;<\/p>\n<p class=\"read-more\"> <a class=\"\" href=\"https:\/\/umoove.art\/index.php\/2022\/12\/08\/the-crimson-house-lemi-ponifasio\/\"> <span class=\"screen-reader-text\">The CRIMSON HOUSE &#8211; Lemi Ponifasio<\/span> Lire la suite\u00a0\u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","footnotes":""},"categories":[8],"tags":[],"class_list":["post-1796","post","type-post","status-publish","format-standard","hentry","category-critique-critique"],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 4.9.9 - aioseo.com -->\n\t<meta name=\"description\" content=\"Noirceur d\u2019un monde sous contr\u00f4le En 2010, on d\u00e9couvrait pour la premi\u00e8re fois en France, le chor\u00e9graphe samoan Lemi Ponifasio avec sa pi\u00e8ce Tempest : Without a Body. De nouveau au Th\u00e9\u00e2tre de la ville, l\u2019ann\u00e9e suivante, il pr\u00e9sentait Birds with Skymirrors. The CRIMSON HOUSE est la derni\u00e8re pi\u00e8ce, qu\u2019il nous propose. 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