The Fleece is Sleeping | An Ancient Sex Series
THE SLEEPING FLEECE
A cycle of creations by DAVID NOIR | 2nd period: JaZon and the world of others
"La Toison Dort" was produced and distributed in its first form during the 2007-2008 season by the company L'Entreprise Noire, the project's supporting structure, in co-direction with La Guillotine and L'Espace Jemmapes.
A contemporary company that surfs on the antique.
"The Sleeping Fleece" is shaped like a journey. Like any journey, it is invented as it goes through the stages of its journey. Its staging is its road book.
An editorial and evolutionary project in favour of a permanent and diffused scenic form.
An episodic saga directly delivered on stage by David Noir and his road partners.
It starts with a single man, prepared since childhood, walking to meet the greatest number. We'll call him JaZon.
Thus opens before him, the era of the cowardice of men in the face of the determination of one.
"Arm too short - Heart too weak - Stunned - For me, Mass is said. That's what I could think. Nothing and no one would save me. At a gallop, at a gallop: death. »
Women's Planet
The Naked Golem and Children
The Anal Community
Last irrevocable
We're laughing! We're laughing! Laughing!
The Sacred Man of JaZon
ORIGIN
Initially, The Sleeping Fleece is a poetic monologue I wrote between 2004 and 2006.
I then felt the desire to represent him in the form of a succession of shows, at first solo, then accompanied by a partner, which I was finally able to achieve during the 2007-2008 season in front of an audience that immediately proved to be faithful and for whom the psychic and sexual adventure of my character JaZon, became a form of monthly appointment throughout this first year of operation.
FORM
The current form of The Fleece Sleeps is that of a tragic-burlesque, mythological, fanciful and musical quest, where nudity, treated in turn in a moving, humorous or crude manner, responds to words and situations that place the spectator at the heart of an emotional and disconcerting process. The development of this process, which is as much organic as it is reasoned, is, for me, an important response to my questioning of the mise en scène as a composed and composite work.
INGREDIENTS
By play and by nature, I always consider the word beyond its original meaning. The word games interacting with the stage and the sound and video tapes are numerous and follow one another at a fast pace, randomly bringing mental and sensitive associations to the viewer. The images that arise from these visions in my own mind guide my staging and feed the situations on the set. The concepts to be taken into account in order to more accurately represent the scenic purpose addressed to the spectators during my shows could be: the word, the meaning, the sound and the image.