Comic gestual duet.

Why “Les GüMs”?

Before all “Les GüMs” refers to the absurd.

It means that one cannot be taken seriously. In a name we searched for what we experience when we feel ridiculous, that vulnerability which frightens us. We wanted to provoke in people the surge of feelings the public experiences when seeing a clown: laughter and compassion at the same time.

Hence the ambiguity in that name. It is also a choice to deconstruct the intellect. Anyway, what is this all about? Nothing!

The Company’s Approach

The body is a powerful vehicle to convey emotions. Our conception of theatre focuses on bodies which tell much without the need for a text.

The theatre we create is shaped by images. We give great importance to the aesthetical value of the stage.

We want laughter to be present all the time so that the tragic can be absorbed more easily.

We place importance on the present moment, on being genuine, here and now so as not to fall into the trap of mechanical performance.

The characters we create are close to us so that we can connect to sincerity on the stage. The clown, in the background of all our performances, does not wear a nose, thus allowing the audience to identify more strongly and open their imaginary. Simply making people laugh at our faults, our moments of unease, our fantasies and solitude.

We like to observe and allow ourselves to be touched by the beauty emanating from ordinary, everyday life. Through observation we can thus create a precise, realistic framework and then deconstruct it and step into the absurd which is for us a necessary twist in order to put things into perspective.

The scenography and narrative are meant to suggest not to illustrate. Our spectacles are created by a context, not a story, and aim at simplicity in order to provide easier access to the imaginary. Emotion and poetry are engendered by a minimalist arrangement. Saying more by describing less.

We base our work on long, slow, gradual sequences which require our full commitment and offer richer possibilities of acting while giving a greater part to improvisation. These sequences create a void which is deeply moving. This is where we become connected to our deep nature. It is the elegance of little nothings, of the ordinary and of soulful silences.

We are searching for the quirky achievement, insignificant but highly technical so that the ordinary may give rise to the extraordinary.

Thus our performances are resolutely inscribed in the vein of the circus arts through our physical work and our narrative.

The Company

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