« 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
« “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
Few shows so deserve to be called a visual poem. A subtle, dark and magnificent work, like a chiaroscuro painting painted by de La Tour which would come to life before the public’s eyes.
By Mathieu Dochtermann
Alternately automaton, old woman playing Narcissus, using her silhouette to dance with oblivion, delicate and disturbing, Élise Vigneron, graduate of the school of puppetry arts of Charleville-Mézières, explores these fragile territories with a crazy talent.
By Delphine Michelangeli
Shadow games in a poetic setting of great finesse specific to the French theater of Entrouvert. Here too we play with confidence, but in a silent, very sensitive way. A heartbreak which forms, through graceful and subtle images, a landscape with a spiritual atmosphere.
By Heidi Jäger
Wrapped in a beautiful light, the audience (standing, seated, kneeling) and the young woman on the stage face their metaphysical anxieties in 7 stations and carefully seek their ego.
By Muriel Camus
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