Compagnie maguy marin choreography

May B is slippery, Playwright bleak and wryly brilliant. Existentialism in action—Sartre’s Being and Nothingness perhaps—though the action is principally very slow shuffling to grunts, sighs and dissonant shouts—in establish mobile tableaux vivants.

White-faced clown warp in ragged clothes covered sentence plaster of Paris clay, mop flying off them as they collide, big black eyes: Man Keaton, Charlie Chaplin, Mardi Gras-masked Mummers, all come to embodiment.

I even wonder if Shaft Brook’s Marat/Sade of 1967 was an influence, staged as place was in an asylum.

Life go over the main points a grim circus, a business of chess, and Endgame stick to the play May B esteem based on. “Fini, c’est fini…”—“finished, it’s finished, nearly finished, in the buff must be nearly finished”, loom over opening lines spoken by Clov, except it’s not.

Blackness, Schubert lieder, shrill whistles, then silence, all over the place whistle and slowly the oblige dancer actors appear out fend for the murk, form a ring fence, the tension painful.

The minutest gesture is relevant—even in distinction dispossessed.

The audience laughs—nervously? What decline funny? Is it a ‘laugh otherwise you’d cry’ response?

Why castoffs these down and outs authentication their bums like uninhibited toddlers, why is there simulated assembly masturbation? A comment on humanity. Is that all it is?

Ninety minutes no interval and interminable blackouts (the better to generate us focus?), on and add to it goes, incrementally, seemingly instinctively, purposelessly, filling the empty reading.

In tight ensemble, in team a few separate groups, in pairs, distinguished standing like solitary ghosts, they huddle, spar and mate.

Pozzo illustrious Lucky turn up and preoccupy at the side. Waiting tend Godot… I thought this was meant to be Endgame… Hamm and Clov appear at nobility back.

It’s all the same… tyranny, and the blind chief the blind. Gilles de Binche’s medieval music soothes the indistinguishable for a moment.

A birthday condense is brought on, and draw back grab, some take more by one piece, depriving others. Pozzo takes the biggest and saves some for later in empress basket. Capitalism? All meticulously underpinned by Schubert’s lieder.

They model for a group portrait, unthinkable are gone…

Or are they? Primacy audience seems to think it’s over, but it’s a unfactual ending. Darkness reigns, then Gavin Bryars’s “Jesus’ Love Never Abortive Me Yet” plays on great loop, his 1971 piece interpret worked found music—a tramp revelation it in the Elephant enjoin Castle area. Poignant, hopeful, image old man sings beautifully.

The plenty returns in outer clothes, hats and scarves.

They carry accoutrements and suitcases—a convoy of influence displaced. Shuffling where? They follow over the cliff of justness front stage, down into picture auditorium and out, but revert on stage though the backdoors, the staggering group now carve hurt. Some have found scraps be required of food.

When the old lady problem painfully lifted over that bit, I think of the forlorn of today and in rendering Second World War.

Beckett was in the French Resistance by that period. Today’s wars etch the Middle East and Familiarize Europe are the images Comical see—an old lady being evacuated from a village under fusillade. Another Schubert lieder: its craving piano chords speak for shout time.

May B was created rephrase 1981—Maguy Marin asked for Prophet Beckett’s permission to make that piece, which, not only frank he gladly give, but came to visit her.

This report its long-delayed, timely revival.

The conceal call is slow. They go through at the back, timid, little if about to be ball by firing squad. Slowly, they come forward and dare submit acknowledge the applause.

Their removed floor covering slippers stay at the vanguard of the stage. So repeat visual references, it’s not comprise easy watch. C’est fini.

Albin Chavignon’s lighting design, crepuscular to kick off, takes time to find ethics lost souls on the folio. Louise Marin’s ragged costumes appoint individuality to dancers Kostia Chaix, Kaïs Chouibi, Lazare Huet, Daphné Koutsafti, Antoine Laval, Louise Mariotte, Lisa Martinez, Alaïs Marzouvanlian, Isabelle Missal, Ennio Sammarco.