Claire Heggen solo
// A play for puppet and silent actress
”This is a visual poem in memory of an angel
This is an intense piece of music broken up by sustained silences
This is a story that includes a journey and challenges that have to be overcome
This is a colour, white
This is the story of a young girl who died at twenty years old
This is my story”
Bright Shadow is inspired by the true story of Claire Pradier, daughter of Juliette Drouet and the sculptor James Pradier. In this piece Claire Heggen takes inspiration from poems by Victor Hugo about her in his Contemplations, and in dialogue with Schubert’s string quartet Death and the Maiden. Using a puppet as a go-between, animating the inanimate, Claire Heggen makes the uncertain figure of an angel appear and disappear, calling up the ghostly whiteness of a being who disappeared too soon.
Crédit photo : Christophe Loiseau
The DVD of the show is available for sale – More informations
In the press
“Ombre Claire” – The Pearl of the Festival My Mime
The show Bright shadow presented the art of Claire Heggen in a single sample to even greater extent than before, moreover, in an unusual genre form, which has much greater tradition in the French culture than in ours – namely tragic mime. Hugo’s Meditation and Schubert’s composition The Death and the Maiden, which are organic parts of the whole production, suggested in advance – regardless of the credits in the program – the wistful, meditative position of the performance. It was also enriched by Claire Heggen´s acting and polite recitation of the verses and breathtaking physical gesture and mime which with its statuesque suggestion corresponds with the main principles of Decroux´s teaching. The audience is mainly addressed with expressive emotionality, to me personally known only from Rodin’s sculptures.
Ladislava Petišková – Theater critic – May 24, 2015
Mime is not dead
By the way of handling her body, Claire Heggen is proving technical perfection in the essence of Decroux‘s Corporeal Mime but at the same time she keeps a strong individual gesture. What we can see in the exercises of Decroux can seem funny and obsolete today, but Claire Heggen is transforming it to an unpretentious and subtle movement poem on stage, which is (without any abusive overtones) a female version of Corporeal Mime. During the performance she is more and more taking into the action the white tissue which seemed to a be part of the scenography in the beginning. She literally undresses the set. In her hands the material changes into a partner, an obstacle on her way, the object as a challenge, the mother‘s womb from which the angel was born.
Jana Soprová – HAMU – June 24, 2015