“Bless the Sound that Saved a Witch like me” is the second in a series of portraits initiated by Benjamin Kahn in 2019. The piece is a choreographic proposal where physicality and incarnation remain central. Immersed in a vibrant soundscape, the performer, Sati Veyrunes, makes the audience travel through the exploration of a multitude of screams from the intimate to the collective, giving to the subject of Benjamin Kahn its strength, its political impact and its sense of urgency.
Bio
Benjamin Kahn is a dancer and choreographer. He studied dramaturgy and theatre at the University of Aix-en-Provence and the Conservatoire de Rennes and graduated from ESAC (École Supérieure des Arts du Cirque) in Belgium. After his studies, he collaborated with choreographers such as Philippe Saire, Benjamin Vandewalles, Nicole Beutler, Ben Riepe, Frédéric Flamand, Maud Le Pladec, Egle Budvytyte and Alessandro Sciaronni. He considers dance and choreography as powerful political tools and is particularly interested in the construction and deconstruction of how we view individual and collective bodies.
Credits
Concept and choreography: Benjamin Kahn
Performance: Sati Veyrunes
Music Design : Lucia Ross
Light Design and Stage Management: Neills Doucet
Dramaturgy assistant: Théo Aucremanne
Outside Eye: Cherish Menzo
Cosume Eye: Carolin Herzberg
Sound Engineer Louis Daurat
Light Engineer: Neills Doucet or Edouard Bonnet
Texts: Benjamin Kahn inspired by Pier Paolo Pasolini, Death Grips, Darek Jerman, MAVI.
Production Credits
Executive Prodiction: Les Halles de Schaerbeek, Actoral Marseille
Administration, Production: Léonard Degoulet
Touring and development: Sandrine Barrasso
Coproduction Klap Maison pour la danse, Charleroi Danse, Les Halles de Schaerbeek
Residences: Festival de Marseille, Centre National de la danse Pantin, Klap Maison pour la danse, Kaiitheater , BUDA Kunstencentrum, Theater Rotterdam
