Caramba, a troupe with an operetta name, performs in an old abandoned building. A big-eared reporter is the only spectator of this eclectic revue. A moustachioed musician on springs turns into an alligator, a doll wiggles to the rattling of a washing machine… Dumbfounded, the reporter flees to the last bars of a funny and rhythmical Zulu finale.

 The first cinematographic fiction directed by the future choreographer of Codex, Triton and of the Albertville Winter Olympics ceremony. Humour, poetry and acrobatics are all present in the wild imagination of this natural image maker. A colourful film that cultivates a difficult genre: humour and fantasy.

Source : Patrick Bossatti

Dancer, choreographer, director and art director

As a child, I dreamt of becoming a comic book artist. Drawing is usually the start of my creative process. I just throw out ideas and sketch out pictures that pass through my head. My culture is comics, musicals, nightclub dancing, and also Oskar Schlemmer, the Bauhaus choreographer. Discovering photos of characters from his Triadisches Ballett was a revelation for me. I had always wanted to work with simple geometric shapes like cubes and triangles. I liked seeing how these lines and volumes behaved with each other. Alwin Nikolaïs taught me the importance of light and costume, and the confidence you need to mix everything together. Technically, it was Merce Cunningham who taught me the most about dance. I was taking video courses he was giving in New York. It was fascinating. That’s where I learned how to solve problems of distance and geometry, and the basic principles of optics and movement. Tex Avery inspired me a lot in thinking up gestures that are almost impossible to do. I’ve always kept something of that desire to create something strange, extreme or crazy in my movements. I’m looking for a dance style that’s off-balance, always on the verge of toppling over. With influences like the Marx Brothers, for example, and in particular Groucho Marx, I’ve developed a taste for naughty risk-taking, and comic repetition of mistakes.

Source : Philippe Découflé

More information : cie-dca.com