Presse
« Patrix est pleinement conscient du pouvoir de ses propres mots : c’est un artiste charismatique qui s’impose naturellement sur n’importe quelle scène »
The Times
« Patrix est tellement capable de transmettre de l’énergie, de l’humour et de l’émotion que certains ont affirmé qu’il était davantage un chaman qu’un conteur. Il est vrai que ses récits ont quelque chose d’onirique – selon lui, ses histoires s’adressent à notre monde intérieur, un monde composé non pas de logique, mais d’images, de sentiments, d’intuitions, de couleurs. Mais, et c’est là l’essentiel, ses récits personnels s’adressent également à votre monde extérieur, offrant aux non-initiés une porte ouverte sur l’univers des contes populaires – un univers qui peut sembler étranger au premier abord, mais qui recèle un profond sentiment d’humanité partagée, aussi significatif aujourd’hui qu’hier »
The Times
« Abbi Patrix est une présence imposante, dotée d’une voix puissante et d’une palette expressive qui mêle mystérieusement l’insondable à une intense émotion »
The Times
Press on the performance “FAKE”
Le Canard enchaîné
“He already amazed us in 2017 with his dark take on Hamlet that mixed moving image and electronic music, played by the impressive Serge Merlin. The director and composer Wilfried Wendling has once again embarked upon an atypical project: Ibsen’s Peer Gynt staged in the open air. We say yes!”
M. P.
L'Humanité
“The radio frequency scrambles… and the journalist’s continuous drawl makes way for Anne Alvaro’s voice which seems to come from unimaginable depths. She calls out to Abbi Patrix. His suave, deep voice replies, promising us that we are about to experience something ‘fantastic where eye and ear are no longer combined’ . Little by little, the surrounding world becomes an odd vantage point. What a strange world of trolls.”
Journal la Terrasse
“Snippets of radio shows, percussive and climatic patterns, interactions with passers-by and
members of the audience, direct quotation of monologues taken from Henrik Ibsen’s Peer Gynt…here everything criss-crosses, comes together, and overlaps…”
Manuel Piolat Soleymat
Théâtres.com
“The sheer magic of this piece resides in the fact that the listener/viewer experiences the
performance via a headset: they are secluded within their own perceptions, their own hearing,
all the while amidst a dense and mobile crowd. It’s a surprising encounter and the concentration required to listen in such a densely populated space leads to a kind of meditation, a state of reassuring relaxation and introspection.”
Audrey Jean
De la cour au jardin
“It was a fascinating experience bringing together many artistic disciplines alongside a genuine
idea and real questions. There was no lack of either form nor content. It’s an unusual set-up;
I couldn’t imagine anything more surprising and interesting.”
Yves Poey