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Shadow theater and music performance „Matière Sombre“ / Compagnie Fleur Lemercier (France)

Improvisation of lights and shadows: Fleur Lemercier

Musical composition, MAO on stage: Norbert Pignol

Musical composition, clarinets: Jean-Pierre Sarzier

Musical composition, saxophones: Olivier Masson

Improvisation machinery, manipulation of space: Eric Marynower, pakaitomis su Benjamin Croizy ir Mehdi Kassi

Lighting design and programming: Eric Marynower

Concept consulting, instruments robots: Gilles Reyna / Tribrics

Midi effects, robot instruments: Alex Ratchov

Electronics for the show: Arpshuino , Orgautomatech, Specktr

Suits: Anne Buguet ir Grenoblio miesto teatro dirbtuvės

Director, art director, robots instruments: Fleur Lemercier

Outer ear: Laurent Bigot

Outside perspective: Benjamin Croizy

Partners: Les détours de Babel (38) - Théâtre Municipal de Grenoble (38) - Espace Périphérique- Ville de Paris (75) - Usinotopie (31) - Espace Paul Jargot (38) - IIM (07) - Espace Navarre (38) - La Faiencerie (38) - ACCR (26) - Le Mett (07) - Conseil département Isère - DRAC AURA - Ville de Grenoble - ADAMI


Duration: 40 min.

Location: @Culture Factory (Bangų str. 5A)

RECOMMENDED for families and the ones interested in the playful expanses of space


Matière Sombre // teaser from Mylene ViJette on Vimeo.



The aim of “Matière Sombre” is to explore live the new sounds and visual materials that the machines we have created help us to produce. The "dark matter" is still today one of the physical topics that is the most uncertain. The most unknowns and uncertainties, explorations to be carried out, links still to be woven between the different territories which form our knowledge and conduct to artistic fantasies. We wish to show the spectator the worlds which doors we open. And to invite him to accompany our journey.


The circular device consists of a mobile screen, inside which the machines and the artists interact. They require the development of both acoustic instruments and technological tools to allow their dialogue in a sound and visual improvisation. Its success is dictated by the sonorous or visual choices made by the performers at a specific time.


The audience can move freely and change their point of view throughout the performance. This free movement and mobility of the screen allows the audience to open their imagination and focus their attention on the search for sensations and emotions. Combining puppetry, music, plastic and digital art, our interdisciplinary work aims to create a cohesive and original material that turns the stage into a creative and interactive playground.


The Fleur Lemercier's company projects are created from the texts written by an author, original musical tracks, movements, video or sound machines and love for puppetry theater. They integrate computers, microcontrollers and other digital creation assistants or they do not. They experiment with the relationship between these media and create interdisciplinary poetic solutions.


Norbert Pignol – co-founder of the MusTraDem collective, former pillar of the groups Dédale, Obsession, Trazz Quartet, Carlo Rizzo trio and MKF, this musician-composer-arranger-pedagogue traveled Europe for thirty years on the straps of a diatonic accordion whose renewal he embodied. After 3 solo albums, his participation in numerous projects and music for theater, cinema or contemporary dance, he is now turning to electronic music and directing. His latest projects identify a universe based on urban collecting (residence in Moncton / Canada, InSitu projects...), the remix of everyday sound objects, the interaction with the musical proposals of his accomplices, remixed live. Traditional music, song, improvisation, symphony, modern music: so many threads weaving the rope of the same research, a suspension bridge between scientific spirit and dazzling musical passion.


Jean-Pierre Sarzier – an improviser above all, rooted in traditional music, but rocked by jazz. He has made the bass clarinet his favorite instrument; he also practices the whole family of clarinets, from the contralto to the metal soprano, and likes to explore original styles, such as bamboo clarinets. Influenced by the saxophone of Mickael Brecker and the Irish bagpipes of Davy Spillane or even the lute of Rabih Abou-Rhalil, he has developed a protean playing, based on original techniques - slap, continuous breath - in which the clarinet takes turns between electric bass tower, darbouka, flute or bagpipes. With the Dédale and Obsession groups, he developed a new approach to traditional music and notably crossed paths with Marc Perrone, Didier Lockwood, Arthur H, Juan-Jose Mosalini, Antonio Placer and Stracho Temelkovski.


With a diploma in arts and crafts at the age of 20, Eric Marynower first explored all aspects of light in live performance: technician in major Parisian venues (city theater, Champs Elysées theater, etc.), assistant of lighting designers (Frederic Dugied, Frederic Duplessier), touring stage manager Fougère Lemerier Cie Fleur Lemercier (Matthias Langhoff, François Rancillac, Mathieu Roy...) and lighting designer on various dance, theater, music, circus creations. Light creation gradually became his main activity in longstanding collaborations with Émilie Le Roux and Tristan Dubois, Eric developing a personal, delicate, precise, and contrasting style. His exploration of light has recently broadened to include light-painting in a personal project. He accompanies Fleur on several creations and finds himself a screen manipulator to reveal and distort the projections of Matière Sombre.


Always attracted by the no man's land, Olivier Masson shared the adventure of the Grenoble experimental music scene as a musician and producer. He is fond of raw materials, whether visual or sound, things and places marked by time and wear, the memory of the harmless which evaporates as soon as it is lived. He is moved by the human being that shines through there but even more by what escapes this humanity, the poetry of the derisory, the magic of the “not done on purpose”. He delves into the banality of everyday life and places the listener, the spectator as an explorer of his present, as a discoverer of his own immediacy.


Ever since Fleur Lemercier discovered scissors, dazzled by human inventions and creations, she has been looking for a place on the edge between technique and arts. She studied mathematics and geographic information sciences while spending many hours making, photographing, painting, drawing, filming, cutting, fiddling with various machines and other gadgets on a corner of the table or in her cellar, and begins to train herself in the construction of puppets. At the turn of the century, she abandoned the exact sciences to devote herself to puppetry and theater. Puppet builder, scenographer, and director, she collaborates with many companies and carries out her own projects.


Photo: Fougère Lemercier



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