Le Mauvais out

In a cabaret in ruins, ravaged by flames, like a post-war Berlin filmed by Fassbinder, four performers offer a number in front of a non-existent audience. One would almost doubt that they are really playing; perhaps these are dress rehearsals. A doctor, a journalist, a star, and a policeman – four figures of authority – deliver themselves on a makeshift stage. The author is interested in desire as a subversive power. The cabaret represents here the emanation of a marginal and protest force. Each character embodies a figure of power in the proposed cabaret number; little by little, this figure implodes because of the intensity of its own feelings. Le Mauvais sort looks at what desire represents in our societies, and how it disturbs the established order. In a space that seems to have resisted the end of the World, where black is declined in different ranges, textures, and materials, the characters revisit a familiar musical repertoire by delivering their hearts to us. Le Mauvais sort is a work of anticipation. Desire is apprehended in a new dimension: its relationship to power and structures. Here, Eros is an agent of chaos in what it comes to disturb; the norm is overturned.