Georges Aperghis (b. 1945) has worked for over 30 years on the invention of musical theater that he defines as “an invasion of the theatrical temple by the abstract power of musical organization”. Never a libretto set to music, but a polyphonic coding of actions, images, music, bits of speech and song, pushed to a high level of profusion. Opening several drawers, the shock of multiple, stubborn, insistent fragments that sculpt the mental space with tiny nips from scissors.
There is a sort of primitivism in Georges Aperghis’ work, an impression of the first time: a language that invents itself, reinvents itself, that stutters and develops through trial and error, an expressivity that alternates between languid and frantic. It is often comical and fierce.
