La Biennale di Venezia

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Gisèle Vienne - Jerk



(2008, 55')

created and directed by Gisèle Vienne
dramaturgy Dennis Cooper
original music Peter Rehberg and El Mundo Frio by Corrupted
lighting design Patrick Riou
created in collaboration with, and performed by Jonathan Capdevielle
recorded voices Dennis Cooper, Paul P
stylism Stephen O’Malley, Jean-Luc Verna
puppets Gisèle Vienne, Dorothéa Vienne Pollak
make-up Jean-Luc Verna, Rebecca Flores
costumes making Dorothéa Vienne Pollak, Marino Marchand, Babeth Martin
ventriloquy training Michel Dejeneffe
translatation from English-American to French Emmelene Landon
with the technical support of Le Quartz Scène nationale de Brest
technical director Nicolas Minssen
light manager Arnaud Lavisse
executive producer DACM with the collaboration of Le Quartz Scène nationale de Brest
coproducers Le Quartz Scène nationale de Brest, Centre Chorégraphique National de Franche-Comté à Belfort in the frame of Accueil-Studio, Centro Parraga –Murcia
with the support of Ville de Grenoble, Conseil Général de l’Isère and Ménagerie de Verre in the frame of Studiolab
Gisèle Vienne Company is supported by Ministère de la culture et de la communication – DRAC Grand Est, la Région Grand Est e / and Ville de Strasbourg
the Company is supported by Institut Français for international touring
Gisèle Vienne is associated artist at the Nanterre-Amandiers, centre dramatique national and at the Théâtre National de Bretagne, Direction Arthur Nauzyciel

 

The purchase of the ticket for this show will allow you to assist to the performance Oblò (30’) at 6.15 p.m. – Arsenale Foyer Tese (free entrance subject to seating availability)

 

Not suitable for young audience

Author's statement

The comfort of fake realism.

The play Jerk divulges an intimate experience of murder, based on true story. The play’s linear narration bolsters this sense of reassuring realism. Jerk incites us to question our perception of reality. This work can be regarded in continuum with my three previous collaborations with Dennis Cooper; it questions the linear narrative form as a sort of comforting decoy.
Our previous plays dealt with the issue of fantasy-fulfillment, which can take place in the realm of poetical experience, and its fundamental difference from real experience. Jerk is about what happens when the fantasy actually gets lived out.
In this play, a real experience ends up shattering the characters, who ultimately embody their confusion.
The narrative’s linear form emphasizes how closely Jerk borders on reality. This form lets us openly tackle the subject of acting out a criminal fantasy in the real world. The play widens the spectrum of reality-experiences proposed in our previous projects, allowing us to bridge the gap between fictional forms and real forms; linear structures and non-linear structures. It thus enables us to undergo the potential realism of the poetic form and the potential artificiality of the apparently realist form.
This question lies at the narrative core of Jerk, in how we experience the relationship with fantasy and reality.

Sale d'Armi

SESTIERE CASTELLO
CAMPIELLO TANA 2169/F, 30122 
VENEZIA
TEL +39 0415218711
info@labiennale.org

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