Here, the dialogue between past and present recalls the silence of the origins and the fire of the depths. It combines the splendor of men with the purity and harmony of nature. His strength too. There is chance and necessity in each creation, just as there are also small details that count and which must be seen as something big, something that can make you dream. This is the sincerity of this double intention of the director. That of taking the public into a world that amazes with its grace and presence. The castle park, here, is a receptacle, a stretched skin which collects in its echo the traces of the past to remember who our ancestors were, and to honor them. In this specific case, it is Renkin Sualan, the inventor of the Marly machine. “From Modave to Versailles” tells the genesis of this invention. But more than saying, there is to show, the show being visual initially. Acrobats, jugglers, fire throwers and actors all enter into a celestial and poetic dance.

Water and fire

And the scene is multiple, aerial and terrestrial. The water falls there in shadows and light, sculpting the material, a transparent fabric on which the body slides. “I fall from the sky, I am water, memory of your origins, passion of torrents,” says a voice. And there is the fire too, “Festival of Light”, in evanescent circles which warm the night, wake it up. “From Modave to Versailles”, from Hoyoux to la Senne, it is space, it is time and this recomposed dimension. It’s the dream too, it’s the splendor, the sumptuousness of the gardens of Versailles when the world was celebrating.