Still Life company
Premiere February 2022
The Echo | Aliénor Debrocq - 02/12/2022 (preliminary)
Three years after NO ONE, the Still Life company returns to the Tanneurs stage for a creation in four short forms, like so many impulses.
"The two founders of Still Life like to say that they paint without words 'a world where everything is going terribly wrong': a formula which implies the importance of the grain of sand in the well-oiled machine of the system, the trigger of an often catastrophic situation that will arouse the emotion of the public and reconnect it to our common humanity. “How, through something terrible, we can reveal a spark, a hope”, notes Aurelio Mergola. »
Focus - The Live | Estelle Spoto - 02/18/2022
Always relying on the power of the non-verbal, the company Still Life compiles in FLESH four short scenes where it is a question of real and false flesh, life and death. [...] oddly well typed.
“In these piquant chronicles of human mores in the 21st century, reality reveals its hilarious absurdity in a surprise box (amazing scenography by Aurélie Deloche). It is sometimes adorned with fantastic to underline the line, in particular in a finale grand-guignolesque at will. »
The Free| Marie Baudet - 02/18/2022
The new creation of the company Still Life questions, in four silent paintings, our hunger for contact.
“Hilarious and tragic, four moments that put into perspective, presence and absence, lack and desire, greed and spite. »
Request the program| Didier Beclard - 02/21/2022
The irrepressible need to connect with the other. [...] To discover.
“Through four short stories without words, Sophie Linsmaux and Aurelio Mergola penetrate into the intimacy of human relationships. Between emotion and laughter, FLESH magnifies the touch of the flesh, the physical contact, the embrace relegated to the rank of fantasy in these times of pandemic. »
Evening| Jean-Marie Wynants - 02/21/2022
In four short silent stories, Sophie Linsmaux and Aurelio Mergola show how essential human contact, in the flesh, is to us.
"Between laughter and emotion, Sophie Linsmaux and Aurelio Mergola (with Thomas Van Zuylen for the screenplay, Sophie Leso for the setting in space and movement and Aurélie Deloche for the scenography as just as clever) lead us into their world where gestures take precedence over speech, where bodies express what voices do not say. »
The Meerkat| Surya Buis - 02/21/2022
A contemporary satire with a taste of theatrical Black Mirror .
“By propelling us from a hospital room to a Virtual room, the 1h15 of the show of [la cie] Still Life sways between mischief and tragedy. A success that holds the spectator's eye captive despite the absence of dialogue. Mimesis of tragic events and modern vaudeville, the theatricality finds a fair balance well summed up by the title FLESH, touching dystopia. »
Culture Point| Jean-Jacques Goffinon - 02/23/2022
Hilarious is a poor word here, chilling is just as much!
“The show calls on so many registers combined to perfection that it is magnified, the aesthetic work largely at the height of what the Cie Still Life is used to offering. [...] LWithout words but with a ton of malice and justified intentions, the Company Still Life carries the public in its wacky cavalcades. A public fascinated, intrigued and for its greatest joy undermined. »
Mosquito| Eric Russon - 02/26/2022
Fans of clever burlesque (and Terry Gilliam) will appreciate.
“The Still Life company of Sophie Linsmaux and Aurelio Mergola tackles the theme of the body in a visual show, both light and deep, which brings together a few short stories. [...] The force of the spectacle resides in the balance which it carries out permanently between the laughter which fuses and the tears which rise, sometimes at the same time. »
Luxemburger Wort| Stephane Gilbart - 03/14/2022
“IF FLESH touches us so much, it is thanks to the magnificent work of the company Still Life [...]. What precision in the acting... bodily, down to the smallest detail, what precise cutting of the sequences, what mastery of the rhythm of the performance. We rejoice in the spectacle, we reflect on what it tells us. »