What have they become #1
Mikail Karahan and Diego Salles
Artists of the 40th edition of the Festival
United once again for SOMBRA, a GOP production, they have just moved to Münster after more than 60 performances.
Mikail appears on stage alone, facing the group: such is the theme, the organisation of life in society, with the progressive absorption of the one who initially stands apart.
‘It’s my quirky attitude that pushed the director to give me this role. I’m always somewhat on the sidelines, an outcast.’
He is indeed singular, as we noticed from his appearance on the Festival stage, with his long red silhouette, raised hair and intense gaze turned towards the audience… He came to swing to tango on the Cyr wheel.
‘There is a story behind the comical tone that my show has taken on: one day at training, I forgot to take off my socks. My professor said: well then, keep them on, go for it, you’ll see how it goes! I therefore learned how to control a whole new kind of balance. At first it was very restrictive and I would tell myself Life sucks!, because it was very irritating. The expression gave its name to the piece: Life socks, a small play on words around my socks!’
Mikail stands by his proposition, taking in everything he can from his performance in Paris: ‘In Sombra, I try to be more precise, more rigorous in the course of the act. I learned how to be more accurate in my movements, less fragile. But always peculiar, since my performance in this show portrays my search for a place within the group!’ Uniquely wonderful.
The same goes for Diego.
We remember the gripping image of an artist climbing straight up, with his head buried in the aerial silks, masking his identity.
His silks are tied to a tree branch in the SOMBRA forest, from which his silhouette emerges. The image is striking and beautiful. The chiaroscuro of the setting suits him.
‘SOMBRA shows us that all opposites are necessary. Shadow and light. In Paris I didn’t know how we would react to my performance, to this search for self and meaning I want to put forth. But the audience was generous and receptive. I saw that they were ready for that change: the circus isn’t only entertainment with risk, but it can also carry a message. I already knew that, of course, but my first performance at the Cirque de Demain confirmed it. As a result, I am very comfortable to present this performance here, which I have called Genèse.
Paris taught me to listen evermore closely to the audience. Here, they are close, we are very exposed. I feel the tension evolve piecemeal with the information I transmit.’
Also present in the show, Akira Fukagawa, an artist who performed at the 37th edition of the Festival.