lautreamont – maldoror: Commendation of a Metamorphosis

However. I do not complain. I heard of life as a trauma, and I have forbidden suicide to heal my scar. I want Maker see, every single moment of his eternity, me, the gaping breach. It is the sentence I impose on him.
Horses must not listen what we say. They could perhaps even sympathize with us, my beloved ocean’s son. Bad for them “because they would suffer even more! Our horses were cantering along the seashore, as if
they were escaping from the human’s gaze”.

Le Comte de Lautréamont
is one of the darkest as well as most significant figures in the global literature. Born in 1846 in Uruguay by a wealthy family of French origin, Isidore Lucien Ducasse – as his real name was-, managed just at the age of 24, to complete “The Songs of Maldoror” and then pass away. The Songs of Maldoror, this significant poetic work of a cursed genius, had never been published before while its creator used to be alive, since it was considered by the likely publishers of those times provocative and able to rear prosecutions. It took half a century, in order to be discovered – almost accidentally- the legendary personality of Lautréamont by the Surrealists in 1917, who will dub him instantly as their forerunner, for the sake of only that stunning work.

Through a scene installation of 300 square meters and a hero who has chosen the “eternal insomnia” as an attitude, Bijoux de Kant and Chris Radanov probe the limits of the encounter between an actor and a text, in a stripped theatrical situation of a constant transformation.

What does it really mean someone to be outsider?

Suspended between an identity that just writes “Other” and the desire for a transformation that will lead him away from all these which look “strange”, experiencing the ineffable loneliness of “diversity” as well
as the gladness before the idea of a probable “similarity”, the hero – Lautréamont raises his hand in order to point the one, black swan the flock, and stands upright in order to explain what happens when the “metamorphosis” is “choice”.

In the second version of the performance bijoux de kant, advancing its researching approach of the songs of Maldoror presents the assumption of a 7th song. This hypothetical song, takes shape like poetic text made of images and objects, artworks of Greek as well as international artists. These artworks readdress through the contemporary art’s practices the subjects as well as the poetics that concerns Lautréamont in the 19th century in an up to date way. Organic part of the performance’s experience and complementary of the theatrical version of the 6 songs, the 7th song enlightens the word, the image, the body and the “metamorphosis” realized in inert objects, which “awaken” during their dialogue with the theatrical act.