We have seen Aléas

It was an unconventional performance that was presented to the audience at Le Parvis on Tuesday evening. Aléas begins with a long journey. Chloé Moglia, suspended from a metal structure like a rail, travels above the audience to reach the stage. She crawls, she turns around her support, she slides. She hangs from this bar in the middle of the space, the audience holds its breath, even time seems suspended. With a form diametrically opposed to the dynamics of the circus trapeze she has practiced, Chloé Moglia uses physical performance to captivate the audience. A surprising and fascinating opening to the show. No sooner has she reached the stage at Le Parvis than everything changes. Slowness gives way to vivacity, the silent tension is replaced by a torrent of words. Words that range from the physics of the elements, from gravity that pins us to the ground and tends to bind us to the surrounding masses, to human relationships. Somewhat in the spirit of Jean-Claude Ameisen and his Saturday morning program "Sur les épaules de Darwin" on France Inter. While there are indeed techniques drawn from her circus training, Chloé Moglia's use of them takes us far beyond the conventions of the circus. She plays with her own body, and with those of the four other artists who join her in a performance that defies categorization.