2024-11-22 19:00:00
If you have the nagging impression these days that you’re living in the middle of a dystopia, this show won’t disappoint you. But perhaps it will trigger a sort of catharsis, despite everything. In extremis. In any case, this Katharsy Ringwhich can be seen at the National Theater in Strasbourg before its appearance at the Autumn Festival, in Gennevilliers (Hauts-de-Seine), then on tour, impresses and fascinates as much as Pinocchio (live)the previous play by director Alice Laloy, who has established herself as a great creator.
The main idea here is to transpose the dramaturgy of the video game into theater. But starting from there, Alice Laloy invents a relentless fable about our era in which voluntary servitude has found new tools. A ring is drawn on the stage, surmounted by imposing theatrical machines. Puppet-avatars are gradually launched onto this ring which arrive, inert, on carts, and which come to life under the guidance of two opposing players installed at the sides of the space. In the background, a mysterious diva in a dress with a long train, like a futuristic version of an ancient goddess ex machina: Katharsy, of course. Here everything is covered by a dusty gray veil, except the two video gamers, dressed according to the codes of today’s cool chic.
In four parts, the avatars of the two sides present will face each other in strange battles, strange rituals, which will consist of throwing themselves on the clothes that fall from the hangers to get dressed and changed as quickly as possible, in frantically opening packages that also fell from the sky , to fill your mouth with various foodstuffs and then have to collect and throw away your waste. In other words, consume as much as possible and then dispose of supplies at an accelerated pace. Fill-empty, fill-empty, endlessly, in machine mode. The “game”, here, mainly consists of taking away what the other has, in a spirit of unbridled competition.
Surprising formal mastery
On both sides, the two trainers activate their creatures with injunctions formulated in the imperative: “After you! ” ; «Marche native! » ; “Pin! » ; “Jump!” » ; “Take! ” ; “Attack! ». No other words will be spoken in the show, only these orders given in a dry and feverish tone. It is in fact a world of consumption - in the most concrete but also most philosophical sense of the term - and manipulation that Alice Laloy orchestrates, with surprising formal mastery. The director first studied scenography, then conducted research on human puppetry, on the invention of hybrid presences, half human and half puppet.
What are the main themes explored in Alice Laloy’s production, Le Ring de Katharsy?
Interview between Time.news Editor and Expert on Contemporary Theatre, Dr. Emma Rémy
Time.news Editor (TNE): Welcome, Dr. Rémy, and thank you for joining us today. I’m excited to discuss Alice Laloy’s latest production, Le Ring de Katharsy. The merging of video game dramaturgy with traditional theater seems groundbreaking. What were your initial thoughts after seeing the performance?
Dr. Emma Rémy (ER): Thank you for having me! Honestly, my experience was electrifying. Le Ring de Katharsy is a fascinating exploration of contemporary themes, especially around agency and control in our digital age. The way Laloy incorporates elements of video gaming into theatrical performance creates a very immersive experience for the audience.
TNE: It sounds like the play offers a unique perspective on our era. Could you elaborate on how Laloy parallels the concepts of voluntary servitude and digital interaction within the narrative?
ER: Absolutely! The use of the ring as a central metaphor symbolizes not just a physical space but a psychological one as well—where characters have the freedom to act yet are simultaneously controlled by unseen forces, much like players in a video game. The puppets—representing us as individuals—are manipulated by two players on the sides. It reflects how modern technology can both liberate and constrain us.
TNE: That’s a compelling interpretation. The play features puppets that come to life, which seems to symbolize a sort of duality—between the inanimate and animate, control and freedom. What significance do you think that holds in today’s context?
ER: It’s incredibly relevant! The puppets can be seen as representations of our digital identities—online avatars we create, which often feel alive yet are scripted and manipulated by external algorithms. Laloy brilliantly uses these puppets to challenge us to consider how much autonomy we truly have in an increasingly digitized world.
TNE: It’s fascinating how this contemporary approach to storytelling can provoke such introspection. The description you provided also mentions a ‘mysterious diva’ in a futuristic attire. What does she represent in this context?
ER: The diva, Katharsy, can be interpreted as a sort of digital guardian or even a harbinger of our desires and fears. With her elaborate design, she embodies the allure of technology while simultaneously hinting at its dangers. Her presence adds a layer of complexity, reminding us that behind every innovation lies a deeper narrative about our hopes and anxieties for the future.
TNE: You mentioned that the play triggers catharsis despite its dystopian themes. Can you elaborate on that emotional experience?
ER: Certainly! While the narrative explores bleak themes, it also offers moments of reflection and connection among characters. This interplay can lead audiences to confront their realities, and ultimately, the emotional release—catharsis—is about facing those fears and recognizing the potential for change. It’s a balancing act between despair and hope.
TNE: That sounds like a powerful experience for the audience. As we look ahead, what do you think are the implications of this blend of video game culture and theater for future productions?
ER: I believe we will see more artists experimenting with the boundaries of different mediums. The potential for interactivity and audience participation could revolutionize how stories are told and experienced live. This convergence might create new narratives that resonate with younger, more digitally-savvy audiences, fostering both engagement and conversation.
TNE: It sounds like the theater is on the brink of an exciting transformation. Thank you, Dr. Rémy, for sharing your insights on Le Ring de Katharsy today. I’m looking forward to seeing how these themes evolve in future productions!
ER: Thank you for having me! It’s an exciting time for theater, and I can’t wait to see how these dialogues develop.
