Claudia Triozzi

After Park in 1998, a piece that put her on stage in a series of tableaux of disturbing strangeness, then Dolled up in which she examined the universe of work, Claudia Triozzi launched a new research zone in 2002 with The Family Tree: if the voice is a body, a principle which is both material and immaterial, she was now to focus her choreographic work on the speaking, singing body – with pieces such as Stand or Opera’s shadow. In an atmosphere wavering between a cabaret, a punk concert and a phantasmagorical ritual, the songs in The Family Tree construct an indirect subjectively artistic genealogy, in which are mingled the ghosts of numerous artists or composers. A high priestess, a pop singer, a character from a film, she turns her voice into a malleable material, just as much as a drawing, a movement or a text. Accompanied by Xavier Boussiron on the guitar, with whom she collaborated on the musical compositions, she circulates between eras, genres, costumes, and invites us to join here in vocal bubble containing a teeming imaginary.