Buy tickets Рус


Companie Philippe Genty

Companie Philippe Genty (Paris, France)
Created and directed Philippe Genty and Mary Underwood
Assistant Eric De Sarria
Trainee Calista Sinclair
Performers Christian Hecq (comedie Francaise), Scott Koehler, Alice Osborne
Technical Director, Sound Olivier Pot
Technicians/Manipulators Emmanuel Laborde, Philippe Zielinski
Light Guislaine Rigolett
Music Rene Aubry
Light designer Baptist Bussy
Costumes Eric Chambon, Atelier Couture Du Theatre Des Celestins A Lyon, Silvie Gubinski
Set Design Sebastien Puech, Carole Allemand, Sophie Coёffic
Assistants Aurore Huber, Tomoe Kobayashi
Production executive Maison De La Culture De Nevers Et De La Nievre
La Coursive Scene Nacional De La Rochelle
Theeatre Andre Malraux Rueil-Malmaison
Espace Jacgues Prevert Aulnay Sous Bois
Theatre Les Celestins Lyon
Theatre Toursky International Marseille, Le Rive Gauche-Centre culturel - St. Etienne du Rouvray
L Atelier a Spectacle Vernouillet; Theatre de Satrouville/Centre Dramatique National, corealisation Theatre du Rond-Point 
With support of de la Ville de Nevers, du Conseil Regional de Bourgogne et la DRAC Bourgogne

Premiere – November, 2007

In Philippe Genty’s earlier productions magic and surrealism were predominant. His latest work, Boliloc, is somewhat different. Yes, the magic is still there, but it has taken a rather new comical tinge. Perhaps this should be ascribed to the effect exerted upon the maestro by actor Christian Heсq who recently joined the company. Monsieur Heqe has a rather specific appearance and his physique is absolutely exceptional. It is he who adds fun to bizarre.
It all begins with an amazing scene when Alice Osborne is playing with cubes, opening them up one after another and fishing out marionettes with faces of the actors and bodies of the puppets. Suddenly they start moving on their own without any assistance from Ellis. This intricate technical trick is performed by three persons whom we shall see only at curtain call. Philippe Genty’s fantasies call for exquisite craftsmanshipа
Olga Bibiloni - LA PROVENCE, 2008, February 8
Philippe Genty’s Boliloc begins with a simple number with marionettes. The show follows the normal pattern until the marionettes start living the lives of their own and independently on the puppeteer. Genty says “the stage is the landscape of the unconscious, the world of metamorphoses”. And his marionettes turn into people. The director has quite a hand in devising spaces and this productions provides more convincing evidence to this effect. Lights flare up out of nowhere, the characters are shooting upwards. We are in the fringe of the universe. It will not be an overstatement to say that Genty acts in full keeping with the primary theatrical commandment: we forget that we are viewers or that there are actors and technicians who set objects in motion. There is not a single technical detail to be caught by the eye”
Nadja Pobel - RSF , 2008, January 15
Each production by Philippe Genty is a memorable event, a day-dream. His latest work, Boliloc, is an hour and a half of magic. Boliloc is the story of Sybil whose show with marionettes gets out of control and starts living the life of its own. All of a sudden new personages show up and we find ourselves in a miraculous dream world where nothing is impossible. We have to rub our eyes to make sure that all these happenings are facts of reality. The viewer struggles hard to understand how all these lunatic scenes take shape right before his eyes? The picture would be incomplete without mentioning the music of one of Maurice Bejart’s favorite composers Rene Obri...
Genty’s poetic world changes from one performance to another…
SUD OUEST, 2008, Februay 25
With the help of invisible strings Philippe Genty extended to the audiences he manipulates with their feelings. Basically the technique of casting spell on the audience is very simple. All it takes is brilliant actors who can do everything: pull marionettes, perform acrobatic exercises, make faces, engage in a frantic dance… It also takes ideal lighting that imparts depth to the translucent curtain… All this must be seasoned with heady music that seems to be part and parcel of the splendid sets and culminate in the strikingly harmonious combination of all these media so as to achieve the ultimate end – standing ovation of t he audience.
Should one in the meantime try to figure out the meaning or the central idea, the effect could be that of David Lynch’s movies – one would either rack his brains over the director’s concept, or enjoy the incredible aesthetics of the spectacle
JOURNAL DU CENTRE, 2007, November 11 

June 1, 2, 3, 4, 5, 6, 8, 9, 10, 11, 12
Pushkin Theatre
1 h 30 min without intermission