In turn swaddled, caressed, hit, brutalised, and most often diverted from its traditional image, the Lea Petra's upright piano emits strange and amazing live sounds throughout the performance and improvisation, which are in dialogue with the outrageously rounded body of Ayelen Parolin, the slender dancer with curves accentuated to the point of the grotesque by an all-white, stuffed costume: fake bum, fake belly, fake breasts, pasty face, a wild Pulcinella from a Tiepolo painting.
Controlling and climaxing, a clash in this tandem piece that delivers in full. Between fury and pleasure, Ayelen and Lea play with the energy of the present, of excessiveness and misconduct... more or less controlled. A breath of fresh air, freedom, and letting go, in a time where the predictable and safety triumph.
Choreography, performance: Ayelen Parolin / Music creation, performance: Lea Petra / Dramaturgy: Olivier Hespel / Costumes: Marie Artamonoff, Ayelen Parolin / Choreography assistant: Marc Iglesias / Light design : Laurence Halloy.
Production: Ruda asbl / Coproduction: Théâtre National, Les Brigittines / Studio rehearsals: Les Brigittines, La Raffinerie /Charleroi Théâtre National dans le cadre du Projet Européen Source, Ruda asbl / Studio rehearsals: La Raffinerie / Charleroi Danse / Imagery :(c) Xavier Noire-Thomé, Painting on postcard, 2019.