The piece is well known. Yet each time it’s a shock. The surging of naked bodies, the orgies, the rapes, the deviant monks with the scary masks, the anonymous violence and this sublime pre-Raphaelite picture throwing up genitals and golden coins had nearly been forgotten.

Maguy Marin, throughout her unclassifiable work, has committed to stir in the depths of humanity in order to extract its essence, which daily life throws into oblivion. It’s beautiful, it’s ugly, and it’s often disturbing.

BiT, Maguy Marin, illustration © Araso
BiT, Maguy Marin, illustration © Araso

BiT is a techno dance procession starting with a group of Mormons. Six dancers gather into a farandole, which grows intoxicating as the beat goes up (genius sound design by Charlie Aubry). Faces gloat, bodies reveal themselves and discordances start « against the audience’s pleasure »*.

The anachronic trance jumps to the Middle-Age with spinning distaffs. Religion, SM harnesses and dough transfigure the bodies. They collide, chase each other, and then find each other again only to leap into the void. In BiT, hope and hopelessness are one, and lay inside the other(s).

*Interview of Maguy Marin by Bénédicte Namont and Stéphane Boitel, Garonne theatre – Toulouse August 2014.

BiT is a 2014 creation by Maguy Marin, presented by a non-residential Théâtre de la Ville at the Rond-Point theatre until February 11th 2017