A little girl tells about the appearances of the famous blue horse, a fantastical beast that revives the memory of her beloved grandfather. Once again, Milena Buziak advances Marcel Cremer’s poetic universe and the evocative power of sign language.
Like galloping stories!
Red horse, green horse, wooden horse, iron horse: you can have a thousand horses, but when all’s said and done, there’s none better than a horse of blue. A single one of his tears can become an ocean, a whale, a school of fish! With passion, a little girl tells us the horse stories her grandfather used to tell her, because even though his rocking chair is now still, something very precious remains.
A hearing actress and a deaf actor perform this sublime theatrical score about memory and legacy, in a symbiotic fusion of the movement of language and the poetry of movement.|
Bringing worlds together
A conversation with Milena Buziak
This is the second play by Belgian playwright Marcel Cremer you’ve directed. What excites and inspires you about his writing?
For me, his writing—poetic, enigmatic, and open to interpretation–offers the director a great deal of freedom, even as it constructs a concrete and singular universe in which the characters evolve. Written in a non-chronological way, this work plays with the notion of time, shifting between the present of the performance to the distant past. As with La femme corbeau, it’s a challenge to understand the structure and the issues the characters are dealing with in this play, and another challenge to invest it with our own meaning and bring it to life. I think I like challenges!
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