Trained in circus schools, the Baro d’Evel company presents “Mazùt” at the Théâtre de l’Usine. In this show, dance, visual arts, sounds, music, words form a language at the crossroads of the arts, close to contemporary writing. Camille Decourtye and Blaï Mateu Trias explain to us.
“In Mazùt, there are a bit of the basis of our writing. Because it is a piece made of a singular mixture between different languages. A whole work on sound and rhythm, with a particular scenographic device around flight . And working with paper. Why the escape? This is the point of the piece, which allows us to see how we approach this subject of burnout, overflow, and the fact that we are a kind of person. metaphor of a world that is fleeing, a world that is not going well, which has failures. We created this piece, Camille Decourtye and I, in 2012. After a triptych which speaks of the fall. Vinegarour last piece performed this summer at the Avignon Festival, it is the present that is addressed: it is not because we know that everything is going wrong that we have to let it go, we want to scratch away these questions of impossibility , to which we say yes, to which we adhere… We try so that our shows do not contain messages but questions. The energy of playing, of dancing, of clowning around in quotes holds us together as much as the deep meaning. Generosity, and the way of approaching complexity to give people energy and continue to believe that even if humanity has the worst, it also has the best. We don’t pretend to bring anything to people. Some people are affected by it, others are not. We know that in fact there are plenty of possible stories. We try to leave enough room for everyone to develop their point of view, their own story. It’s not abstract art, even if we can’t transcribe what we do on set. It’s concrete. Words only support part of the story, a live show is brought to life with many other languages. The whole must still try to take it to a place of the extraordinary. It brings together things where people find themselves in communion, suspended times, which society needs. Being an artist is political.”
Théâtre de l’Usine, November 28 at 7 p.m., November 29 at 8:30 p.m. Reservations: 05 65 38 28 08.
* **Given your emphasis on “Mazùt” raising questions rather than offering solutions, how do you see the performance provoking action or change beyond the immediate theatrical experience?**
## “Mazùt”: Exploring Escape, Burnout & the Extraordinary in a World Gone Wrong
**Welcome to World Today News’ exclusive interview with Camille Decourtye and Blaï Mateu Trias, the creative duo behind the Baro d’Evel company and their latest groundbreaking performance, “Mazùt.” We’ll delve into their unique artistic approach, exploring themes of escape, burnout, and the enduring human spirit in a world facing unprecedented challenges.**
**I. The Art of Multidisciplinary Storytelling**
* **Camille & Blaï, “Mazùt” is described as being at “the crossroads of the arts,” weaving together dance, visual arts, sound, music, and words. Can you elaborate on your artistic process and how these different disciplines come together to create a cohesive narrative?**
* **What inspired the choice to use paper as a primary visual element in the performance? How does it contribute to the themes of flight and escapism explored in “Mazùt”?**
**II. Confronting Burnout and Societal Fragility:**
* **The article mentions “Mazùt” as a metaphorical exploration of burnout, overflow, and a world in crisis. Can you expand on this concept? What message, if any, are you trying to convey about the human experience in the face of these challenges?**
* **You state that you aim to “scratch away these questions of impossibility” through “Mazùt.” Could you elaborate on what these impossibilities are and how your performance seeks to address them?**
**III. The Power of “Yes” and the Extraordinary Moment:**
* **Rather than offering direct answers, you say you want “Mazùt” to raise questions. What kind of questions do you hope the audience will grapple with after experiencing the performance?**
* **You describe “Mazùt” as holding “generosity” and aiming to “give people energy and continue to believe that even if humanity has the worst, it also has the best.” This is a powerful statement in a time of widespread pessimism. Where does this optimism come from, and what role do you believe art can play in nurturing it?**
**IV. ThePolitics of Artistic Expression:**
* **You emphasize that “being an artist is political.” How do you see your work engaging with socio-political issues through the abstract language of movement, sound, and visuals?**
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**What do you hope audiences will take away from experiencing “Mazùt,” and how do you hope it will contribute to the ongoing cultural dialog about the challenges and possibilities of our time?**
**We thank Camille Decourtye and Blaï Mateu Trias for sharing their insights and inviting us into the world of “Mazùt.”
**To learn more about “Mazùt” and the Baro d’Evel company, please visit [website address]**.
