Œdipus

Christina manages a chemical products company in Greece, until an investigation is opened to measure the real environmental impact of her company and the consequences on health. Tensions appear within her own clan – a brawl between her brother and her employee who is also her lover and the father of her future child – and buried truths resurface to the surface: each character carries the stigmata of explicit violence and those that do not say their name. Will speech be the saving escape from fatality? Four performers enter and exit at will from a central arena – a circular device and of effective simplicity, which holds as much from ancient traditions as from the theater of trestles –. Each integrates into the action at the heart of the agora or becomes a spectator of it, redefining a space centered on movement. All are welcoming, friendly, even endearing at first glance, an image that Héloïse Ravet has fun scratching by reusing some circus codes. In the Oedipian tragedy rewritten by Zade, it is the mother-wife of the eponymous hero who is at the heart of the play. Here, the erased widow gives way to the archetype of the boss lady under the features of Christina. Œdipus implements power and predation relationships, rape, disconnected and incestuous castes. The myth is anchored in the #MeToo era and liberated speech.