Nicolas Berzi / Artiste Inconnu
Mythomania immerses viewers into the transformations of our romantic relationships, while confronting on stage the universe of the fabulous and Internet self-representation.
- Author, director, production design
- Nicolas Berzi
- Set and video design
- Jean-François Boisvenue
- Music and sound design
- Simon Chioini
- Livia Sassoli
- Nicolas Berzi et Jean-François Boisvenue
The Artiste Inconnu troupe was founded in 2013 by Nicolas Berzi, who is both general and artistic director. From the start, he has worked with actress Livia Sassoli, then with set designer and video artist Jean-François Boisvenue, since 2014. The company’s inaugural show, PEEP SHOW, was a solo presented at the 2013 editions of both Zoofest and the Festival de théatre de rue de Lachine. The solo was remounted for La Chapelle in January 2015, with a fleshed out version of the show expanding its musings on the immateriality of online erotic consumerism. Their seceond production, Héroïne(s) was a chorus of three women’s voices about heroin addiction, also presented at La Chapelle, in the fall of 2015. For this show, Troupe Artiste Inconnu transformed our little black box on St. Dominique into a multi-media mega-set crafted from two tonnes of plywood.
Mythomania is a staged work that was developed from a burning need to examine the current state of romantic relationships in the era of online dating and web-based socialization, and the pathological lying tendences that have emerged therefrom. In the couruse of researching this, we learned that pathological lying – the phenomenon of compulsive lying is initially a formative stage in early childhood development. Young children are all pathological liars, which is what allows them to extract ideas from dreams, stimulate their learning and underscore their hold on reality, which explains in part their keen love to fairytales and stories. This idea led us into dramaturgical, musical and set research on how we develop the ability to lie in love, in literature as well as in our private lives, which in turn became the narrative and artistic tools we employ on the stage.