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© DR

Pamina de Coulon

FIRE OF EMOTIONS: MALEDIZIONE

performance

  • 1h20
  • G Hearing loops
  • E Partially-sighted spectators welcome
  • B Accessible to persons with reduced mobility

Writing and Performance: Pamina de Coulon
Set Design: Pamina de Coulon, Alice Dussart
Lighting: Alice Dussart
Production & Touring: Sylvia Courty │ Production: BONNE AMBIANCE │ Touring: Boom’Structur
Costumes & Crochet: Safia Semlali


Co-production: Arsenic – Centre for Contemporary Performing Arts, Lausanne; Centre Culturel André Malraux, Vandoeuvre-lès-Nancy; and Association Le Cyclop, Milly-la-Forêt.


With support from La Ville de Lausanne et le Canton de Vaud


With the support of Pro Helvetia, the Loterie Romande, and all my fabulous friends <3. Thank you, thank you, thank you.

In this new opus of FIRE OF EMOTIONS, her labyrinthine and captivating saga, the Swiss artist Pamina de Coulon asks herself: “Why on earth is the Middle Ages making such a comeback?”. It’s an opportunity to unfold the question of who tells us which story and for what purpose.
A piece about (re)generation and choosing one’s genealogies, about repairing the past to repair the future, about living with plastics, about breathing the gray sky, and about aging without having children.
MALEDIZIONE is the counter-spell to forgetting the need to be right and to embrace a bit of our complexity, to transform hard-boiled eggs into birds.

Artistic Statement:
“A piece about the control of women’s* bodies, about who tells which story, and who benefits from the story being told.  A piece about (re)generation and about choosing our own genealogies, about repairing the past and repairing the future, about different realities and the veils between them, about the veil between worlds that is also plexiglass, about admitting the plastic that is inside us (admitting, for lack of a better verb-action). A piece whose recipe would be: start by walking on eggshells, then open the window wide to let in the wind filled with pollen and toxic substances. A piece to take responsibility for a bit of our complexity. A piece about heritage and transmission, about forgetting and remembering, about the things known and the things silenced.
A piece about butterflies. A piece about the Middle Ages, and about the now-AGE, and about aging. A piece about the ghosts of time, about choosing not to have children and about being forced to have them. A piece about the depth of the night of time. A piece about women who knit. A piece to start talking to each other again — and to talk to each other in a different tone. A piece to radically expand our empathy and question our shame. A piece to find a way out of our individualistic imaginaries in which we are trapped. “Il est revenu le temps des cathédrales” (transl. The time of the cathedrals has returned), and it is very, very angry. But it is ready to talk.”

Translated from Pamina de Coulon