Gates to a myth by Jean Lambert-wild


Scenography is a curious poetic science, which borrows from every science. On stage, time must expand, space must tighten, our emotions, as a mass, must become the gravity of our indefinite destiny. Scenography is also music, a harmony of birdsong, a mysterious forest where humans tie themselves to tree trunks to drink up the enamoured sap of the earth, full of rain water. 


I am not a scenographer. I am a poet and a calligraphist. When I design space, I try to create a magical geometry that allows the performers’ bodies to collide. The shock of this collision enables the audience to discover the infinite extent of their own cosmos. 


Roberto Zucco is an important fable. It is also a calligraphist’s challenge. Apparently, it is a fable that is impossible to represent. Locations change from one scene to the other. It is a strange maze where one wanders without landmarks. It is a black hole that sucks up the whole world’s light. 


It is impossible to represent black holes on stage. Impossible! But what we can do is show the path that leads to them. My friend Lorenzo Malaguerra and I have decided to take you to the gates of this gravitational singularity that is occulted by an absolute horizon. There isn’t an inside anymore, or an outside, no interior, no exterior, no reality and no abstraction. What remains is a myth that we offer to go through with you, from gate to gate, following Roberto Zucco’s wild-eyed journey. He, who devours worlds and believes he is the death of all light. 


Here, I want to thank Renaud Lagier who lights up a geometry which, without his lights, would be shapeless. Here, I want to thank Lorenzo Malaguerra who gives a meaning to my calligraphy’s inexplicable geometry, and specifically, I want to thank every actor of this project who gives poetic life to this geometry of the mathematical impossibility that is our human condition: always in love, always monstrous.