Some guy start meditate in a public par.People start to see him as a guide. But everything turns into a... Read More
Some guy start meditate in a public par. People start to see him as a guide. But everything turns into a tragedy. A short movie by Tanguy Malik Bordage
KALI YUGA The Kali Yuga is the Iron Age, according to Hindu tradition, the last age of a great cycle called Manvantara. The Manvantara is made up of 4 ages: the Golden Age, the Silver Age, the Bronze Age, and finally, the Kali Yuga, the Dark Age. This age is said to have begun around 4000 BC, at the beginning of history, at the time of the earliest written records. This Iron Age would last for 6480 years. So we are living in the last part of the last age of the cosmic cycle of humanity! The Kali Yuga is described as a time of destruction, degeneration, decline, a time when human beings are out of touch with nature, with themselves, with their spiritual essence. It is the age of materialism, of homo economicus... Whether or not I share this belief is not important. Even if the accuracy of this prophecy, thousands of years old, is striking, I am not trying to explain or justify this theory. I want to use it as a playground, as a framework for my reflection, as a metaphysical and philosophical crutch. This is the theme of fiction, this is the cosmogony in which I want to navigate freely. These are the rules of this game. Despite the negative vocabulary of the Kali Yuga: "dark", "iron", "decline", "break", etc. There is no moral judgment. What I find fascinating is that this age, like the previous ones, is necessary, that each part of this whole is as legitimate and beautiful as the others. This is the Dharma, the order of things. Destruction is what allows rebirth, renewal, starting a cycle towards a new golden spring age. My artistic perspective is not moral. It is sensitive and subjective. It is full of humor and distress. It is epic and fabulous.
LOVE IN THE TIME OF CORONA It is common to hear that my stage direction is very cinematic, that my images tell a lot. I see directing and stage direction as two related ways of creating, very different but also very similar. I have always wanted to try filmed stage direction. I even did a film training before even starting in theater. Since I have been directing, as a teenager, small films with my father's camera, I have known intimately that an important part of my work will be cinematic. This project is an opportunity to experiment with how these two ways of telling can coexist, respond to each other, contradict each other, complement each other, interweave, and reinforce each other. The Kali yuga project is composed of several episodes. One can be a pure tragedy, the next a satirical buffoonery, the next a poetic wandering, for example. The overall coherence will be orchestrated around the theme. This is a project that emerged at the beginning of the coronavirus lockdown, a surprise project that owes its existence only to events. It is a survival project, an adaptation. It is a proposal that has adapted to the health rules, safety standards, the requirements of theaters and venues. It is a project that like water, was not fixed, it became its container, and adapted to the events, so fluctuating. What made me salivate with this project, is its spontaneity. We all know the deadlines of a classic production, the overly booked retrospective plans of theaters, the creations planned 2, 3, 4 years in advance (admittedly derisory on the scale of a Manvantara)... What the current situation imposes is to create something in the proposed moment, to seize the created space, the open breach. It is an experience. It is the desire to create something charged with the current time, this uncertainty, this excitement mixed with fear, with a group of technicians and performers eager for a new artistic adventure, lasting for a considerable time, experimental.