Les Agrions

This project ended in December 2017

The collective “Les Agrions”, – created in November 2016 within the association “Art, Culture, Events” by Elisabeth Pouilly – brings together artists from various backgrounds and explores complementary fields of activity, such as music, dance, literature, and visual arts. This collective has come together with the desire to bring to life contemporary texts that are not well represented, by favouring the link between the different arts and the relationship with the public.

Membres : Elisabeth Pouilly, Rémy Garnier, Barbara Marin, Delphine Mogarra, Morgane Neplaz, Laura Giallombardo

Elisabeth Pouilly is a teacher of modern literature born in 1987. She loves to travel and to be open to different cultures and art forms. She is passionate about literature, especially poetry, of which she has published two collections, and about theatre. She is pursuing a doctorate in Theatre Studies in Paris on the links between the theatre and the cinema of Alejandro Jodorowsky. Her interest in this multidisciplinary artist was awakened in theatres, during performances of the play “Opéra panique”, and in front of the screen, watching the cult film of the 1970s, “La Montagne sacrée”. In her Master’s degree in Comparative Literature, she explored the themes of the sacred and the monstrous, which were very present in the group “Panique” created in 1962 and composed of Jodorowsky, Arrabal and Topor. She is now interested in the art of performance and in the “sur-reality” offered by the theatre through the presence of the actors’ and spectators’ bodies. It is to her attachment to this author and to the precious help of her companion, Rémy Garnier, that we owe the creation of this collective of artists of all kinds.

This project concerns the staging of Jodorowsky’s play “Opéra Panique” created in 2000. This rich text is composed of several sketches and constantly oscillates between the tragic and the comic, highlighting the troubles of a small society clinging to its privileges, the relationships between men and women turned upside down, the stupidity advocated rather than the intelligence… It allows a lot of freedom of interpretation in the staging, in the acting, and in the reception by the public. Within the classical framework of the stage, each artist brings his own touch of madness and originality to crack it, thus following the aesthetics of “Panics”, as it is true that the “panic man” is not the one who decides not to walk anymore to try to escape from the conventions, but it is the one who walks… on his hands.

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