Frozen

Frozen is a performance written with no words, extremely visual and narrative, with a fast-paced rhythm and strong imagery. This piece constantly calls for the active gaze of the audience, stimulates their critical thinking, and forces them to dissect this improbable story unfolding before their eyes. In a captivating closed environment, the two protagonists continually speak to us about the human condition - this man who is at times animalistic, supportive, selfish, intimate, and immodest. Frozen thus offers us a hyper-realistic story made of flesh and blood. A living, fascinating story at its best.

The creation of Frozen ( long-form ) allowed us to further question our relationship to the world, more specifically, the place of the living in our lives, in our environment, and the fragility of the human condition.

This reflection proved, to us, to be an obvious necessity and a particularly urgent one. It is essential, for us, to place humanity at the center of our theater. As if this act allowed a greater understanding of who we are and what drives us. Deprived of connections, how can we find our place in a world that is often dehumanized... frozen ? What identity can we forge for ourselves ?

In Frozen, the sudden appearance of a pulsating heart in the sanitized world of a company cafeteria creates discomfort and fascination in the audience. On stage, this intrusion of the organic provokes a violent reaction in the characters, who abruptly reconnect with their physical nature and their primal instincts. We want to use this starting point to take our characters, and the audience with them, beyond the animalistic reaction, towards a human-to-human relationship.

This is why we decided to center the writing of our project around this question: in a disembodied world, through savagery and by revisiting the living, how can we rediscover the need and capacity for connection with others, the need for humanity ? Or more directly, is humanity still capable of living with humanity ?

Indeed, the cult of productivity reigning in our contemporary societies tends toward a detached world, far from the real, from life, from the everyday. It creates an increasingly disembodied world defined by notions like competition and individualism.

Focused on performance, our societies reject illness, weakness, and death. The celebration of the cult of competition among individuals, in a world that turns its back on social problems, relationships between people, fragility, and vulnerabilities of all kinds, without kindness or respect for others, brings us back to this refrain : " Man is a wolf to man. " Like a wolf, modern man prowls and evolves in the overly functional space of cities, in the emptiness surrounding buildings placed like cubes on a sanitized space.

On our stage, far from any gore aesthetic, we want to bring out the blood. We want to stain the stage with the almost existential unease caused by the transgression of the limits of the human body. Through this, it’s the place of the human being that we wish to consider. To reach the human heart, the muscular organ, the true organic engine that beats more than 100,000 times a day.
What we propose with Frozen is to turn the image against itself and redirect its hypnotic power.