Popcorn machine
a domestic apocalypse

The circus disciplines narrate. The risk is to understand everything.

A continuum of undetermined causalities and implausible consequences brings three charismatic girls and a man to live absurd situations, in which the man dies all the time. A tiger falls from the sky, the fountain of Trevi becomes atomic mushroom, Elvira sells the apocalypse in special promotion.

The metaphor of popcorn takes sense in its explosive metamorphosis. The public’s attention crystallizes on scenic details, a dancing barbie, the rude rope on Elviras body, a dying man…

In an electrical scenic landscape, an absurd future coexists with an unknown past. A fan caresses a vulcan of popcorn .

Theater mixes with hand-to-hand reinvented in hair-to-hair, the trapeze lived as an object of a sentimental adventure and an acrobatic bicycle, on which spectacular legs play the Russian roulette.

The notes of a cello juxtapose to the rhythm of a sewing machine, of a Sicilian love song, a Rachmaninoff’s tune or the groove of a firework. These extreme situations don’t miss traces of a twisted humour and reveal in the four personalities their deep, sometimes cruel character, touching sadism and masochism, in a perplexed cocktail of comic and tragic conditions. Ambivalent feelings reflect their relations, which aren’t less ambiguous.

 

Itinerant creation

My!Laika created PopCorn Machine in a certain form of itinerancy. Based in Toulouse, the company travelled for a year and a half from residence to residence, traversing 10 countries. Every day the artists confront linguistic diversity and logistic complications due to the constant travelling, looking for materials and resources for the creation of the show. Based on their proper origins (Italian, German, Dutch and Argentinian), the four artists emerge a group identity, that they can easily define “sub-european”. Isn’t their union a collateral effect of the actual continental politics? They presented their work-in-progress or short forms of the show in France, Italy, Spain, Holland, Serbia, Denmark, Germany, Croatia and Belgium which allowed the show to meet the public more than 50 times before the definitive creation. This approach of permanent confrontation with publics of very different cultural origins has enriched and nourished the creative work considerably.

‘Morale has nothing to do with circus’ Tristan Remy

Artistic approach

In a post apocalyptic universe, My!Laika unites four international artists who share an absurd and often dadaistic sense of humour. The winners of the JTCE prics 2010 have the field of ivestigating a pure circus and adventure towards performance and musicn composing a turbulent collage that has nothing in common with the current image of the cliché « circus ».

Their circus disciplines (acrobatic, hand-to-hand, trapeze, juggling, bicycle and breakstroke) serve bizarre theatrical situations and ae meant to provoke a chaos of feelings in themselves and thus in the spectator: making laugh the public when it would want to cry. And the other way round.

Everything has an influence on their creativity: their sources of inspiration are the clqassical cirucs disciplines, dance and rugby, as well as elevator music and the colour of Angela Merkel’s blouse.

Great artists like Kurt Schwitters, Jacky Chan, Samuel Beckett, Lady Di, Frédéric Chopin, Elvira Hancock and Frank Zappa stimulate their artistic work. Star Treck, Fellini, The Ramones,Toni Bonetta.. The list of muses is endless.

They play live music performing their Çkunst-cirqueÈ in a way that gets the spectator lost in a chaos of sensations, actions and stimuli.However, the artists esteem the high technical quality of their performance: The experience shows that a person jumping a tripple salto mortale is immediately taken seriously by the public and can thus convince it easily of formidable nonsence. Behind the composition of impacting images of Popcorn Machine, the nonsense-inspired and concurrently “neo-futuristic”character is the unifying element between the desire to express intimate conflicts scenically and the circus disciplines.

The aesthetic choices on stage aspire to hidden sensations and are the base of the unusual states of mind of the performers. The interpersonal relations are interpreted in favour of the absurd. Violence, affection, dolour and self-awareness are the elements that complicate in this exposition of circus and possible human traits.Bla bla bla…

 

Contact: Olivier Bourreau – on charge of diffusion, My!Laika France

plus 33 608406243 /