Forms

Dérézo, a polymorphous company, has always been enthralled by this mutant genre that is theatre. Spectacular forms now emerge that know how to welcome all the different disciplins that a stage can host: actors, plasticians, sculptors, choreographers, painters, dansers, authors, set designers, stage directors, musicians... The creators from all those horizons explore, at the very core of the company, "the art of creating art"; let it be street art, poetry, fairgrouds, newsflashes, music, masked, with objects...
Theatre is the workbench of all attempts. Those, crucial, to tell of what crosses our age, inside and outside. Those, more demanding, to write and so to speak, and so to be enbodied. Intimate.
Art doesn’t stand anywhere, i.e. it can be everywhere.

When Dérézo creates its performances in the city it implies keeping the promise to be out on the street, and not just in the street. Understand where it intertwines: the elderly, the dogs, the yougsters, the rich, the locals, the outsiders, the poor... In one word: the City – as Polis in greek.

When Dérézo creates its "Kabarês", nomadic open-air shows, it implies being at the fair, on a territory that’s being reapropriated by carnival folk.
When Dérézo creates its political plays, it implies scrutinizing the role of the artist in our society.
When Dérézo creates Les Habitants – Urban Fictions – it’s to delude the city, by outmaneuvering its so-called "reality". It’s the acid testimony of how it’s staged by its communicators: the urbanists, the shopkeepers and the politicians. Alas way more then by its actual citizens. This proves reality doesn’t exist since we fabricate it.

Reality is a fiction like any other.
Our statement is to take the city as a playground, rathen than as a stage. So we take action conceiving forms, presences, relations, tools that unfold from this statement. Our interactions are inherent to the city.
Then, the necessary non-artistic disciplinaries which enrage our theatre enter the stage: martial arts, semiology, philosophy, psychoanalysis, ethnology, theology, sociology, mathematics, history... etc.
We are aware that we produce heterogenous show forms, which imposes a dramaturgy singular to our age, and to those who live wherein (us included). We accept the responsability of an aesthetic divergence that make us jump continuously from one genre to another. It also destroys narrative habits, alongside with the industry of comprehension (and thus of explanation).

We revendicate this difference, let it be ununderstandable for some. Let’s enchant forms.