FLESH

Still Life company

VISUAL THEATER

Premiere  February 2022

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Libération| Anne Diatkine - 22/07/2022

En quatre petites pièces sans parole, le collectif Still Life dessine, entre fantastique et horrifique, un univers où toute rencontre charnelle vire à la catastrophe.

«  Ce sont quatre pièces muettes et concises autour de l’étreinte, des flashs pourrait-on dire, si frappants qu’ils se passent de paroles – le spectateur

prend le relais, les mots cavalent dans son esprit face aux situations follement quotidiennes et banalement terribles que les instigateurs, inventeurs, metteurs en scène, Sophie Linsmaux et Aurelio Mergola, lui mettent sous les yeux.»

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SACD| Interview avec Marie Baudet - 21/07/2022

L'Écriture instinctive et spécialisée de Still Life

« Ce qui compte et que nous avons absolument envie de creuser, c'est cette expérience collective du vivant au même moment au même endroit, sans interférence. C'est tellement important, nécessaire, et de plus en plus rare. »

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Transfuge| Hughes Le Tanneur - 08/07/2022

Dans FLESH, Sophie Linsmaux et Aurelio Mergola fouillent à coups de 

bistouri l'épaisseur de la chair humaine.

« L'humour noir flirtant avec la fantaisie la plus débridée est la tonalité 

dominante de FLESH, spectacle sans parole mais d'une impressionnante

force plastique.»

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Les Inrockuptibles| Patrick Sourd - 08/07/2022

En quatre histoires sans paroles, on s'amuse d'un grand écart entre la vie et

la mort.

« Autant d'endroits où les deux auteur.trices mettent les corps à l'épreuve du 

réel, pour traiter de la vie et de la mort, avec la même ironie mordantes »

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The Terrace| Anaïs Heluin -  26 /06/2022

FLESH, an entirely visual show by Sophie Linsmaux and Aurelio Mergola

“With FLESH, the creative duo formed by Sophie Linsmaux and Aurelio Mergola continues its research on the need of the Other, and on the state of the body in our contemporary societies. Composed of four short forms, this entirely visual show plunges us into solitudes that are just waiting to be populated. »

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Luxemburger Wort| Stephane Gilbart -  03/14/2022

Melee

“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. »

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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. »

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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. »

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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. »

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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. »

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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. »

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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. »

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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. »

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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. »