Roped up and bound, Les Passagers launch themselves in an assault on their scaffolding, rigged as a boat.
An island in the midst of the public, the pyramidal structure completes the set-up. A dizzying shipwreck unites actors and spectators in an overthrowing of the laws of gravity.

The canvas is a sail, hoisted and lowered by turns, on which water streams and carries the traces left by the protagonists. Reinforcing the immersion of all the senses, the musical composition utilises a spatially aware soundtrack.
Despite impressionistic scenery composed of scaffolding (17m x 17m), a canvas (210 m2) and a canvas pyramid (7m high), the aim of this spectacle is not to impose itself on the public, but rather to invite the latter to let themselves be carried away in the wake of a strange vessel in distress. No text, but a contemporary gaze brought to the motor elements of the Shakespearian drama: the power of illusion, and the illusion of power.

For the 20 artists of the company, more than one year of research based on a sharing of disciplines, during the course of which, among others, the dancer learns from the painter the art of rythming a pictorial trace, and the painter to model the stations of his body with the stroke of the brush.

"First of all, there are the corridors of power, and its castaways, which often lead to the shipwreck of a whole society, sent to the fury of absurd wars in the middle of which pockets of resistance subsist (Sarajevo, Grosny…), where strange things are discovered: utopias, magical and dangerous spaces, intense joys, disillusion. Hunger, desire for freedom, overwhelming loves…
Next comes the confrontation between the real and the magical, which leads us to the power of illusion, and to the illusion of power. 
Finally comes the denouement, via the difficult path of access to our freedom…" 
So many trails following the desires and questionings of the director Philippe Riou. 

The approach of the painter Frédéric Noguer
To allow us to see the movements of painting, inscribed and erased ceaselessly by a flow of water, seemingly born of the canvas. The drips make a completely separate painting, a paintless painting coming from the earth’s gravity, a random painting celebrating the physics of Newton, and initiating a new idea of colour and flow. 
The painter-actors are transformed into instruments of painting, and their nakedness, given meaning by the colour, forms a whole with the canvas. In the course of the action, a “pictorial archaeology” is established, different interventions are superimposed, are effaced, overlap in turn, forming sediments on the surface of the canvas in so many strata of colours, and make visible the presence of time in the spectacle. 

The approach of the painter Eryck Abecassis
Tempête…Grain, accumulation of atmospheric micro-disturbances, simultaneous presence of diverse temporalities, and thus of diverse spaces. 
Accumulation/erasure, two terms which could be the formal basis of techno music. Here, for me it’s a matter of extending the process beyond the simple fragment, less through a concern to unify, than to submit memory to a certain twisting. 

Duration: 1 hour 15 mins, 16 performers and 2 stage managers  Scaffolding structure of the company (L17m x H17m) + PVC canvas (210 m2) + canvas pyramid (H7m)  Capacity: 5000

The show "Tempête" has been made possible with the support of the Ministry of Culture, DRAC Theater Ile de France, ADAMI and Ville de Paris with the partnership of Seigneurie (painting), Layher (scaffolding) and Réro companies.