idiots mais rusés /Cunning Idiots
création 2007













conception and choreography
anne lopez

ghyslaine gau
jean philippe derail
hichem belhaj
chiharu mamiya

live music and scenography
françois lopez

luc david

anne claire chaptal

Théâtre La Fonderie, Sète
3 Bis F, Aix-en-Provence

helped financially by
Regional Direction of Cultural Affairs in Languedoc Roussillon, Regional Council of Languedoc Roussillon, Departmental Council of Hérault, City of Montpellier.

images >>

idiots mais ruses

video >>




Idiots Mais Rusés (Cunning Idiots)

Idiots Mais Rusés is a choreographic play for 4 interpreters working intensively in a scientific, modern and surrealist laboratory. For the duration of the performance they become « geonauts » working on mission impossible, squaring the circle of our times. In the elapsed time, having gone through a series of physical, mental, spatial and psychological  constraints, they will have to find answers and possible solutions for each situation. Each laboratory invents it's programme of experiments to solve an insoluble problem and  find a strategy that works, at least until the end of the play.

From one scene to the next, these researchers evolve in a sphere where emotions run riot, from tenderness to extreme violence. Borrowing from popular fiction codes in order to subvert them, using inspiration from classical dance codes in order to turn them on their heads, Idiots Mais Rusés is a short-circuit, a real electric shock.

This play will be performed during the 2007-2008 season of Montpellier Danse and at Nimes Theatre in February 2008.


“No pretence, and no concession with an aesthetic for aesthetes. In Idiots Mais Rusés, Les gens du quai deliver a flood of emotions  pure and brutal in equal measure. And yet, we laugh, we laugh out loud, no doubt because of some kind of successful alchemy. The play confronts us with our own absurdity, sublimated by delusion.. The dancers are perpetually confronted with difficulties absurdly real and unreal. The amused spectator wonders constantly about the impossible solution they will dare to attempt.  This is where the dance really succeeds; it is judge and litigant of the grotesque quarrel that we see before us. We recognize  ourselves in the agitation, in the frenzy of dancers, that it is difficult to look  on without emotion. These are our own inconsistencies and we laugh wholeheartedly. It is the laugh of uncontrolled defence of those who watch the grotesque collapse of someone else, and who refuse compassion in order to prevent humiliating memories from filling the mind. A feat of structured delirium, this play flirts gently with theatricality, exuberance, and sensitivity. In an incessant hand-to-hand between the dancers, the scenery, the music and the scenic attention to detail. A genuine fight between the sensible and the absurd.”
Isabelle Coutaud