Often equated with anger and chaos, the scream is criticized, condemned, or censored in language and public space. It can be seen as the most immediate and audible form of personal urgency towards the political and public realm. Whether filled with rage, pleasure, pain, or silence, it is a powerful and deeply intimate act. It provokes instant empathy that also summons our most common and instinctive feelings. It represents a crack in time and space.
This piece is an attempt to reappropriate this radical expression and tame its raw material. Through a powerful physical and sonic journey, the aim is to make this vital impulse accessible as a scream of alarm in the context of the geopolitical, ideological, and ecological crises we are experiencing.
The solo for Sati Veyrunes, “Bless the sound that saved a Witch like me,” is the second part of a trilogy. The trilogy is a winner of the TRIO(S) programme supported by SACD and ONDA in 2023. “Bless the sound that saved a Witch like me” is selected within the framework of Aerowaves Twenty24 with the support of the European Union.
concept, choreography: Benjamin Kahn
performance: Sati Veyrunes
music design: Lucia Ross
light design and stage management: Neills Doucet
dramaturgy assistant: Théo Aucremanne
outside eye: Cherish Menzo
sound engineer: Louis Daurat
light engineer: Neills Doucet / Édouard Bonnet
costume design: Carolin Herzberg
texts: Benjamin Kahn, directly inspired by Pier Paolo Pasolini, Death Grips, Darek Jerman, MAVI.
executive production: Les Halles de Schaerbeek, Actoral Marseille
administration, production: Léonard Degoulet
touring, development: Sandrine Barrasso
coproduction: Klap Maison pour la danse, Charleroi Danse, Les Halles de Schaerbeek
residency: Festival de Marseille, Centre National de la Danse Pantin, Klap Maison pour la danse, Kaiitheater, BUDA Kunstencentrum, Theater Rotterdam
Performance includes: nudity, strobe effects, high sound level.