BARENTHÈSE

General Tour Festival

For the 4th year, the neighborhood bars of the Vallée de Fécamp, in the 12th arrondissement of Paris, are also the places of convergence of various aesthetics, words and gestures for four days. The “Tournée Générale” festival intends to change the habits of both the clientele and the teams of the establishments concerned, as well as those of the public who go there to discover the programmed artists.

During my summer tour,
I play general tour
In two drinking establishments
I come to drown the fish
If the sea bass has fins
the terrace its sidewalk
I’m in the estaminet
That I come to open the caquet
I wave in front of the zinc
My real fake oxyrhynchus
I make my nose redden
Tributes to the bacchanals
Laughter is syphilis
Tributes to the Dionysians
I wiggle in a corner
Where I take out my baraguoin
I’m into caustic humor
You can call me Citrik
I make the tavern sing
Based on poppycock
Songs to moire
Lurking at the back of the bar
I am the marauder of the edges
You can call me Ludor
The tip crooner
Who seeks to split the pear
The bullshit in the line of fire
I’ll give you a big one.

Octosyllables are nice
But could you explain, to our readers, what underlies the suspenders of your performances, namely morosophy? It does not bear the limits of an explanation or definition but I can shed light on a few words of order from behind the scenes of the performance.
The unexpected is welcome. The spontaneous is welcomed. The abrasion of the glorified suddenness.
I imagine the show as a celebration of the juxtaposition of presents and realities.
As an invitation, in the frenzy of contagions and echoes, to fertilize what we are living in the moment on the breach. The extemporaneousness where the act coincides with the need for action, makes us responsible for things that escape us and places us in front of the madness of the possible. A theater that percolates the thresholds of intensity and fantasizes the potentiality and the advent of a primitive immediacy.

Ludor Citrik

After a smurfed childhood and having made his humanities, Cédric Paga dives in autodidact in the alive spectacle like actor dancer polymorphic of the masquerade. In the available masks, there would be that of the Teacher, the researcher, the lecturer, the praxeologist and the chansonnier

At the beginning of the century he created a clownish and buffoonish creature called Ludor Citrik with whom he multiplied spectacular experiments (11 written and premeditated pieces) and instantaneous, contextual and extemporaneous performances (plethora).