Juliette Louste Company

 “What is your position on the chessboard? Do you have control over your life, or does someone direct it for you?”. Spindrift Theatre presents a new immersive production which questions the different aspects of the human being and its own reality. Evolving in an oneiric world, the coloured creatures inspired by Lewis Carroll’s Wonderland look for an answer to the eternal questions on social dogmas, the humiliation culture and the taboos.

 

Spindrift Theatre

  Spindrift Theatre is a Nordic company integrally feminine. In the midst of this innovative and experimental company, the artists physically work on their questions about life and human nature. In their visual, sensorial, physical and experimental productions, they pursue the passion of intriguing and making the audience evolve in the real and oneiric worlds.

  All the founder artists obtained their diploma on 2013 at Rose Buford College’s European Theatre Arts Programme in London. They studied together at the Estonian Academy of Music and Theatre. They pursue their different works and trainings in Denmark, Estonia, Finland, Iceland, North America, Italy and Poland.

 “Medea Material is one of these stories that linger over the centuries. Heiner Müller uses the myth of the witch and the Argonaut to symbolise a past, a terrible experience. Robert Torres follows this line to extract the essence, under the shape of a trilogy of monologues, in which the woman is the main character. Medea and Jason are more than just a woman and a man, they are archetypes, actors and viewers of a story that conjures death and demands peace.”

...collaborations...

 

  Since 2009, Juliette Louste collaborates as a dancer, choreographer or direction assistant with different artists, directors, musicians, other choreographers…

  It results in many pieces of various styles, responding to topics and aesthetics often very different one from the other but all coming from a passionate and unstopped research of interdisciplinary complementarity, answering to this conviction that contemporary dance can only grow from this confrontation with other artistic means.

 “Her small collection of monsters, I told the doctor before seeing them. I swear I will put my life in the service of humanity. My patients’ health will be my primary objective. Exact and sad definition… Painfully exact, this was a Museum of horrors, creatures, a henhouse of eccentricities, but they were all human. In an unknown time and place, they had parents, a home, a cradle. Do not hesitate looking into their eyes! Smile at them!”

 “Three boys will pee in the public toilets. Or will it be girls? In any case, they will be three and they will stay for dinner, but the table will be set only for two. And the game will begin. Or had it already begun? The apparently innocent meeting will turn into a ritual of seduction, power and cruelty. They will play adult, they will pervert the rules or they will try to be as faithful as possible, all in a present that will be future of all possibilities.”

 “The director decides to be faithful to the author, to his symbolism, his ascetic view of the world, his constant research around the occult and the unknown. In a very intimal montage, where the darkness and the light has the same value, the room in which the family is, next to the bed of a dying mother, is overrun by uncountable everyday noises but otherwise inexplicable by the increasingly palpable presence of Death.”

 "A singular hybridisation experience between the musical and theatrical conceptualisation in an interdisciplinary performance that starts from the play Coriolanus by Shakespeare and questions the current possibilities of rebellion. “The most important thing is knowing how to say no. The most important thing is to unite. The most important thing is to act. The Musée des Révolutions is full of these acts of determination but also of the representation that comes to neutralise them"."

 “A hotel. Passing place. Space characterised by the coming and going of bodies and stories that develop fleetingly, without leaving traces, and that finally turn into different versions of the same thing. Characters damned to wandering, put in relation between them by the precarious intensity of their learned rituals and the conscience of lack of authenticity. The radio. Voice in the pure present the intention to last. A pure body absence that spreads to the search of meat.”

 “When we get to a place, we always leave from another. Restlessness of knowing or need to flee? What is it that we try to forget or leave behind, what is the personal baggage of each one? The part that concerns feeling… How can we live the past if we cannot erase it? If it has become a “subject of study”? The part that concerns arriving… Everything we coexist with, is it as natural as it seems? Which is the social maturity we have?”

 “A system is a set of elements that share a very close relationship between them, maintaining the system united in a more or less stable manner, and where it follows a common purpose (theology). All the properties of a system are not a simple addition to their composing parts (General Theory of Systems). This is the base of the composition game around which the piece is built, its dramaturgy, its staging, and its scenic elements.”

 “The choreography created according to the free interpretation on the topic of resistance that also concerns the resistance of the immunity system (body’s defence system), the mechanic resistance in the tissues, the body muscles (restrictions, deformations, strengths…). This creation took its shape inside military forts, taking into account its strategic aspect, the tensions that its history and location can inspire: horizontality/verticality, defence/attack, logical/absurd, rest/action…”

 “The research subject of this piece is, in the past and present, the conflicts that King David had during the period when he wrote Psalm in the old testament. Psalm is constituted by 150 chapters. On the chapter 143, there is still the status of great King, but he fights for his life. Envied for his victories and past glories, and blessing them, he was welcomed by God, backing: "I remember this distant day; I have meditated on your works and considered what your hands have made".”

...punctual collaborations...

 

 "“Dream that begins another song, I saw inside the echo of his voice, amused. I am the star of his voice that whispers let’s go, come with me. Behold the innate law, the Second movement: the outside one. In a montage at the same time wise and brave, first of its kind, based on the rules of musical theatre, the actors and the musicians put on stage a retrospective on the rock band Extremoduro, stirring the values, the ideals and the poetry that it transmits.”