Ludmilla Mercier

TALK

Contemporary theatre piece for performers, actors, jazz quartet and live projections

« BELIEVE ME, I’VE TRIED, YOU KNOW? AND THEN THE STUDIO’S LIKE, “YOU SIGNED A CONTRACT.” BLAH, BLAH, BLAH... “LOOK” ! YOU SIGNED HERE AND HERE, YOU HAVE TO TALK EVERY DAY. AND I’M LIKE, “ALL RIGHT. BUT IT’S A LOT OF PRESSURE, BECAUSE IF I DON’T KEEP TALKING, THEN THE CONVERSATION JUST STOPS AND THE SHOW STOPS. SEE WHAT I MEAN? »

Meet Rahel, a young actress determined to make her voice resonate in a world that often overlooks aspiring talents. Bernat, the technician of a talk show, grapples with the delicate balance between his political convictions and the demands of the commercial TV realm. Then there's Andrea, the enigmatic talk-show host who opts for silence over words. This is how we meet them on stage. But who are these individuals concealed behind their characters mask?

As their stories unfold, they weave together in both absurd and magical ways, unraveling a narrative that exposes our collective perceptions of reality, celebrity, love, and the intricate workings of the entertainment industry. What mysteries lie beneath our understanding of reality, and to what extent is our world an artifice? These questions invite us to ponder the authenticity of our existence and the layers that veil the truth behind the spectacle of life.

Rahel Egger, CH - Actress
Andrea Zamengo, IT- Performer
Bernat Pont, CAT - Performer
Mireia Pellisa Martín, CAT - Saxophonist
Robin Rindlisbacher, CH - Pianist
Pierre Dayer, CH - Percussionist
Ulysse Loup, FR - Bassist
Matthias Müller, CH - Sound artist/Performer
Samuel Gfeller, CH - Sound engineer/Technician
Arda Yurdusev, TR - Technical Support
Ludmilla Mercier, CH - director/writer

External Eye:
Leo Dick, René-Claude Emery, Simon Steen Andersen

BUREAU FÜR/POUR NONSENSE

Contemporary theatre piece for 2 performers, office equipment and projections

Nonsense is the madman's last piece of freedom - permission to do something that makes no sense, and therefore has no business in the office. The duo sees Nonsens as an invitation to draw surrealist images that critically highlight the biotope that is the office, but also the administrative apparatus it represents and the linguistic absurdities that lurk in the mists of the office.

"Bureau" and "non-sens" - two terms that, at first glance, couldn't be more different, yet are inseparable in their essence: a taste for the absurd. In "Bureau für/pour Nonsens", Ludmilla Mercier and Jakob Böttcher examine the all-too-often unquestioned biotope of the office as a capitalist construct, a device that no one is capable of piercing, not even those who create it. The duo examine the stereotypical sonic objects of the office and put them to the test by dissociating them from their sonic origins. This semantic decoupling forms the sonified bridge to nonsense.

"Bureau für/pour Nonsens" constructs surrealist semantic approaches in sound, highlights the topos of the absurd in text and sound, and plays with the components of absurdity in French and German language. The dystopia of the future is neither the autonomous machine seizing world domination, nor the last AI to escape human control: it's the office.

Against this thematic backdrop, the piece unfolds associatively and without concrete action, using the biotope of the office as a sonic body; it constructs surrealist approaches to nonsense and interprets them sonically and multimedia; it highlights the topos of the absurd in different texts and plays in particular with the absurd, but also sonic, components of language, with reference to French and German. Thanks to its multilingualism, the play is intended to be accessible and comprehensible, despite the heaviness of the text, to people who speak only German or only French.

The piece is a playful study of the office biotope from an acoustic, visual, theatrical and semantic point of view. It takes a critical look at the organizational obstacles and social injustices of everyday life, as well as the bureaucratic absurdities of our times and of our artistic work, particularly across borders. The terms "office" and "nonsense" are thus opposed as antipodes: the office as a superior ordering body, as administration, as archives and above all as the workplace of capitalism; nonsense, on the other hand, as an invitation to madness, chaos and childish play.

Jakob Böttcher, DE - composer and performer
Ludmilla Mercier, CH - composer and performer

LUX ÆTERNA

Music theatre piece for 2 performers, prepared piano, soundtrack, MIDI devices and lights and objects

A dead man comes back to life, a piano that serves as his coffin, familiar instruments suddenly sound different and seemingly real actions turn out to be illusions. In this 2023 version of the Requiem Mass things are no longer what they seem to be.

Inspired by real and fictional elements from cinema, 60’s tv-shows and catholic rituals the show moves freely between the solemn and the light-hearted scenery.

Lux Æterna is inspired both by the Requiem Mass's musical highlights and by visual elements from paintings and religious events. The show recreates several "visual tableaux" on stage to bring these artistic references to life.

To reinforce the visual impact, some cinematic tricks were prepared, such as a "tear-tube device". This idea is directly inspired by the legend of the 20th-century "Madonna di Civitavecchia".

Andrea Zamengo, IT - composer and performer
Ludmilla Mercier, CH - composer and performer

TO BUILD A DECONSTRUCTION with H. Homsi

Music theatre piece for 2 performers, sonic stands, oud and flute

All is about realities...

It's a story between two completely opposed musicians. Their countries, their cultures, their musical approaches, their dreams and their favorite dishes...

In a world that you cannot predict its future, how can a little Swiss artist manage to meet in real this reality? How can a Syrian artist integrate his past in his creations?

How can they judge their lives? How can they be sure that what they live is a reality and not an unreality?

To build a deconstruction celebrates differences, and tries to highlight them through the examination of lives, sounds, images and dreams...

Ludmilla Mercier, CH - performer and dramaturg
Hekmat Homsi, - performer and composer

ORAL CAVITY

Stative performance for sensors, lights et 3 performeurs.

David Maydell, DE - performer
Lara Alarcón, ARG - Performer
Aine E Nakamura, JPN - performer

SCH*

SCH* White noise is a piece created and performed for a specific location: the former cardboard factory in Trossingen. The performance took place on May 24, 2022 as part of the D-Bü Wettbewerb final.

"Sch* as white noise, Sch* as censorship or Sch* as the silence that follows chaos."

"Noise is movement between spaces. It escapes from airplane turbines that cross continents. It sizzles in old televisions and radios in search of new channels. Waterfalls and forests rustle like butterfly wings. Noise is the only sonic constant. It's musical material without pitch.

With SCH* [white noise], the ensemble Inter.Rupture explores a new hybrid form of musical performance on a new instrumentarium, musical spatial installation and performance. By playing with everyday objects, the ensemble aims to critically question the artificiality of the classical concert situation, without completely abandoning it. By moving freely around the space, the audience can individually explore the nuances of noise in space, creating their own non-reproducible sound piece. The six performers* play on sound and everyday objects, classical instruments, voices and electronics."

with collective luft

Ludmilla Mercier - Komposition, künstlerische Leitung, Flöte, Handtrockner
Jakob Böttcher - Idee, Komposition, Luftpumpe, Tonmeister
David von Maydell - Dramaturgie, Text, Tape
Lara Bäucker - Stimme, Flöte, Bohrmaschine
Vinh Tran - Gitarre, Tape, Tonmeister, Gottesdiener
Nathalie Nikonova - Stimme, Agogô, lebendiges Radio
Bernat Pont - Technik

POURQUOI VIOLETTE EST DEVENUE SORCIÈRE?

Performative music theatre piece for 4 performers and projections

Directed and performed by 4 young creators, the piece mixes reality and fiction, humor, sarcasm, innocence and seriousness, theatrical illusions and feminist activism.

It includes pieces by Charlotte Torres and Yesid Fonseca, as well as creations by the collective. In the course of the piece, the performers examine the inequalities between men and women in the past and present. The use of archives, sounds and images brings the show an interactive and modern aspect that reinforces its originality.

collective Delay-diz - performance and creations

LA HISTÒRIA D'AMOR

Musical "tableau vivant" for percussion, electric pedals, electric bass, tubes and boxes

"No hi havia a València dos amants com nosaltres.
Feroçment ens amàvem des del matí a la nit.
Tot ho recorde mentre vas estenent la roba.
Han passat anys, molts anys; han passat moltes coses."

"In Valencia, there were no lovers like us.
Fiercely, we loved each other from morning to night.
I remember it all as you unfold your clothes.
Years have passed, many years; many things have happened."

Vicent Andrés Estellés

Ulysse Loup, CH - performer and bass
Núria Carbó Vives, ES - performer, percussions and singer
Loïc Baillod, CH - pedal and effects
Lumdilla Mercier, CH - director and composer

UMA MÃO LAVA A OUTRA

For two performers, video, electronics and percussions.

How do we construct reality? And what role does sound play in this process? The piece plays with images projected on musical instruments. Live video recordings are reversed, creating a cyclical illusion of time and reality. Acoustic and electronic sounds are intertwined to create an experimental sonic world.

Ludmilla Mercier, CH - performer and composer
Cristiano Rios, PRT - performer and composer