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“Kaselezo” is a show of tearing. Great upheavals of voice, imminent fears. From waterfalls gushing with joys too. It is the spectacle in which the universe of the spiral is unveiled. He turns you round. We see an Amoniz condemned to push a wheelbarrow of rocks (which is done in a spiral on the stage). Without the denouement, one would have said a Sisyphus (of Greek mythology), condemned by Hades to perpetually roll an enormous rock up to the top of a mountain, from which it fell incessantly. This illustrates the essay (the myth of Sisyphus) or the theory of the absurd in Albert Camus. He imagined Happy Sisyphus. Like him, the spectators seem to imagine a happy Amoniz as it is not possible to be. On stage, we see the typical encounter between love and hate. Between desire and renunciation. Women wear men everywhere. On their shoulders, on their backs. It is a piece of high femininity. She says no to the mistreatment of woman by man. Gender inequality. It also traces childhood games and the many prohibited. This revolves around popular beliefs. Question of virginity which must be preserved, and the idea of ​​saying that “Tifi ak tigason, se alimèt ak gazolin”. In fact, the woman revolts and says bluntly to society: “I can not any more.” It is a question of total freedom. The actresses say, indirectly or directly, that society needs to be rethinked in terms of the relationships between men and women. Music and dance, contact and listening, all the comings and goings of the piece harmonized to make theater a high place of exchange and sensitivity.

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