Press

« Elise Vigneron signs without doubt one of the most free and sensitive adaptations of Maurice Maeterlinck’s text, La Mort de Tintagiles: she offers a sounding board for her words and her mystery, thanks in particular to the subtle use of the puppet in the role of the Child (Tintagiles) metaphorical character, embodiment of fragility and purity. »
By Marie-Eve Barbier

« It is a powerfully poetic work, which shows all of Elise Vigneron’s mastery and her artistic maturity. Because it moves powerfully, because it puts in discomfort, because it disconcerts and provokes, it is a work which one can undoubtedly say that it is successful. »
By Mathiue Dochtermann

« “The Child”, faithful to the symbolist tradition, gives us an experience that is more sensory than telling, the story of a fight and the attempt at a breakaway restored by a thick scenography that embraces the public within it. This sometimes hieroglyphic speech theater produces strong images, where mystery has its place. A mystery which is precisely meaningful, whose form is perhaps as close as possible to what one might call the diffuse tissue of sensations; so difficult to name, whose vision sometimes makes it easier to understand something. »
By Noémie Regnaut

« The director has chosen to immerse the audience in a space they will have to cross, at the invitation of the actress, as if to better experience fear, threat, and also to go in search of the child. The strength of the scenographic and sound universe, as well as the poetry of the relationship between the characters heightens the emotion. »
By Nathalie Yokel

Ice Puppets / TV report on the construction of the ice puppet.


“Anywhere”, the ice complex


Interview of Élise Vigneron in Les carnets de création made by Aude Lavigne on France Culture

Oedipus’s meltdown: an ice puppet disappears – in pictures

« This spectacle fascinates with its slowness and its captivating beauty, the delicate play with materials and darkness, its poetic and cruel force. Beautiful art! »
By Thierry voisin

« Anywhere has the elegance and modesty of a haiku, these short and codified poems from Japan, sketching interior landscapes. And as left hanging. […] To lead us into the depths of this “world market”, Élise Vigneron creates a strange and hushed universe that saves light and words to better highlight the stages of transformation of water matter. »
By Isabelle Appy

« Dodging largely the pitfall of yet another rewriting of the myth, ANYWHERE delights by the free reading which it takes care to guarantee. In reverse of the era, Anywhere dares to adopt a different temporality and defy the urgency that has become ordinary. »

By Agnès Doppf

« Here, [Elise Vigneron] imagines a sort of ritual where the melting of ice panels forces the two artists to constantly renegotiate their relationship to the stage. To invent ever new ways to occupy it, to wade together. »
By Anaïs Heluin

An attempt at a meeting there also successful and successful where the universe of the two artists makes use of each other, sparking a moment of pure poetry that symbolizes the translucent figurines of Elise Vigneron.
By Emanuel Serafini

We could not have hoped for a better meeting between two women who did not know each other: breakeuse and demanding choreographer, Anne Nguyen found in Elise the same rigor, but also a visual writing prompt to disturb the gaze on the bodies.
By
Nathalie Yokel

On a techno base signed Tom Flynn the duo manipulate each other. Anne holds inverted hip-hop postures and Elise follows suit. That’s what it’s all about, following suit. One is the engine of the other. They have to fight the elements. The rhythm is crazy in this very current questioning on the balance of things. And, but it must remain secret, the end is a gem!
 By Amélie Blaustein Niddam