© Dorothée Thébert-Filliger
© Dorothée Thébert-Filliger
© Dorothée Thébert-Filliger

Pamina de Coulon (CH)

Fire of Emotions : The Abyss

  • 75’
  • E Partially-sighted spectators welcome
  • G Hearing loops
  • D Sun 01 October

By and with  : Pamina de Coulon. Co-conception and set design : Pamina de Coulon, Romain Berger, Stanislas Delarue – atelier Goupie Goupek. Light design : Alice Dussart. Diffusion : Sylvia Courty – boom’structur. Production : Bonne Ambiance & boom’structur. Co-production : TU – Théâtre de l’Usine, Genève, Arsenic – Centre d’art scénique contemporain, Lausanne. Support by : Ville et Canton de Genève, Loterie Romande, DRAC région Auvergne-Rhône Alpes, La Bellone, Bruxelles, le BRASS, Bruxelles, Fructôse, Dunkerque, Festival Artdanthé, Vanves, Les Halles de Schaerbeek, Bruxelles, Montévidéo, Marseille, L’L, Bruxelles.

Break the rhythm that excludes thought. In this wordy essay, Pamina de Coulon practices the art of infinite speech. Sitting on a makeshift rock, she embarks the audience on the animated swells of her unfathomable reflections. Here, it is the words that act, that perform. In her labyrinthine monologue, the artist puts different theoretical concepts, memories and allusions into perspective. Pamina de Coulon navigates on seas of knowledge by ear, without losing her course ; swimming upstream through tides, crossings, migrations. The way between sea monsters and temporary plankton is lit by a refusal to rise from the ranks that surfaces and draws our attention to the coexistence of all beings.

Pamina de Coulon (born in 1987) is a young Swiss performance maker with a background in theatre, visual arts and design. Her work can be described as ‘spoken essays’: Pamina makes speeches in which she borrows elements of stand-up comedy, self-help books and radio chronicles. For her texts, she uses techniques like autosuggestion, free speech and free association (as used in psychoanalysis). Pamina’s performances are disarming, life-questioning experiences in which form and content are perfectly aligned. The performances crazily plunge into an intelligent, chaotic and above all intriguing realm of thought.
She lives and works in Switzerland and Belgium.

  • 75’
  • E Partially-sighted spectators welcome
  • G Hearing loops
  • D Sun 01 October