In this rewriting of the myth of Eurydice, Royds Fuentes-Imbert addresses the physical and economic predation relationships. It features Eurydice, a former Olympic sprinter “brought back from the underworld.” By a combination of circumstances that makes her marry Orpheus, a tourist fleeing the dictatorship of her country, Eurydice finds herself held secret and almost hostage in a cottage located in the Great North. Supposedly renting her womb illegally as a gestational carrier, she decides to flee. This escape becomes the long and dangerous crossing of a geography that is unknown and hostile to her. Permanently stalked by a pack of wild Siberian huskies, Eurydice tries to run away. The theme of “Sprinteuse Eurydice” is a classic case of reversal of predatory relationships where the prey can only escape by becoming in turn a predator.
Spinteuse Eurydice is a lyric research-creation project that brings together playwright Royds Fuentes-Imbert and mezzo-soprano Marie-Annick Béliveau. Between action, narration, description and screams, Royds’ writing and Marie-Annick’s interpretation allow them to experiment with the porosities between song, theater and dance in registers unexplored by the lyric art. Their collaboration on this laboratory is based on questions and issues that the artists share: how to free the body of an opera singer from all the restraints imposed by a long artistic practice and a heavy technical and stylistic heritage? How to break these “protections” and engage it completely, as a whole, as a bios (voice-body-energy) in the performance?
Through the presentation of short excerpts, the public will be able to discover the stages and reflections that marked out their experimentation process and will be invited to share their impressions and questions.
