Gogogo! Like an invitation to get started, to take off. A leap into the void, into the unknown or an injunction to surpass oneself, to think further? Maybe a bit of all of that. More prosaically, it is also the event which inaugurates the new theatrical season of Grütli, thought of from January to December instead of the traditional agendas running from September to June. This year marks the third edition of this scenic UFO. Three days of celebration and performances of all kinds from January 13 to 15 to kick off this new year with a bang.
Also to be seen at the Théâtre de Carouge:
Like many other events, the previous edition must have been played online. This year, the bodies are reinvesting the spaces of the Grütli to leave no orphans. The spectators are invited to wander up and down, from left to right, sneaking in the corridors and guiding in the various rooms of the building. Even the elevator will be entitled to its installation. The goal: to slide the performing arts into all the available interstices so as to make Gogogo a giant and total performance: “Contemporary living art tends to break the fourth wall but the very term“ contemporary ”takes on a meaning here. additional. It implies the fact that artists and spectators are all at the same time in the same space, breathing the same air, crossed by the same themes ”, specify Barbara Giongo and Nataly Sugnaux Hernandez, co-directors of Grütli and co-organizers of the event. .
From the outset announced as “a festival that is not one”, Gogogo plays the protean card by proposing to go “beyond the genre”. Barbara Giongo and Nataly Sugnaux Hernandez refute the idea of a specific theme running through the program but rather see the event as “a photograph of our time” or “a carte blanche questioning the world by passing it through the stage” . Many performances approach queer identity in different ways. In particular, it will be possible to meet Beatrix and Milla Pluto, “dyke of the fields” running a pirate radio station from a wheelbarrow. The opportunity to highlight in a light and humorous way the experience of a queer identity in the countryside: “There are very few queer representations in rural areas. This performance allows me to show that it is possible to question one’s identity elsewhere than in the city. Without forgetting that the countryside, despite the sometimes frozen mentalities, is filled with fluid beings like snails or earthworms ”, laughs Alice Oechslin, creator of Milla Pluto.
While many proposals are played solo or in duo, a performance is likely to clash with Gogogo. The Compagnie Folle de Parole turns into a veritable horde, prowling in the corridors of Grütli, between implosion and explosion to shatter representations of the genre. Performative infiltrations in extra-scenic spaces, to be precise: “There is a force, a desire to live that drives this project. It is like a stream, whatever the obstacle, it will go around it, ”announces Isabelle Chladek, artistic director of the company. In interaction with the public, everywhere and all the time, as if to symbolize the ubiquity of gender questions that currently cross society through and through. A proposal that promises to be festive without being denouncing, led by a group from which emerge multiple singularities, a sort of animal pack without the hierarchy of the leader.
Impossible to mention all the highlights offered by Gogogo and its “bulimic” programming. Note, however, the arrival of the artist Lucile Saada Choquet and her performance Even in our beds. A project that tends to make the voices of racialized people more visible, too often killed or ignored. A decolonial feminist performer, as she describes herself, Lucile Saada Choquet invites into the privacy of her sheets people perceived as black, Arabs, Berbers, Asians, Latinas or mestizos: “I apprehend the object reads like a playground, but it is also a place of refuge, a space which – a priori – belongs to the sphere of the intimate and the private, but discrimination invites itself even in our beds. You are never really alone there. With these meetings, I propose to reclaim the bed and make it a space for oneself so that it becomes a room for us, a place of repair and recognition of our dignity. ” A praise of care, listening and non-productivity, where “no word is used for nothing”, all to be glimpsed in a play of opacity through semi-transparent curtains. A chosen mixed device that is both radically political and deeply joyful and liberating.
Gogogo therefore offers spectators an eclectic program flooded with a torrent of questions about feminism, minorities, gender or stage practices. With dance, theater, performances, Barbara Giongo and Nataly Sugnaux Hernandez hope to “ruffle” their audience with a “rainbow-colored” festival. Obviously.
Gogogo, Théâtre du Grütli, Geneva, from January 13 to 15.