By Gilles Pastor
This period in the Musée des Moulages (in november 2007) was the first work around the performance Tempest at 54° North, first played at Les Subsistances in Lyon in june 2008.
Since 1992, I collaborate with Pierre David for all the settings of my performances. I have wished to put together my theatrical world and art work of Pierre David. We drew a parallel between our two worlds through two performances and one art installation. Sleep is at the heart of William Shakespeare’s Tempest.
Art installation Dormir (Sleeping) by Pierre David shows peaceful and vulnerable boys, furniture and tomb, both tables and beds, seeming confined in the same mental space as their parents who are watching over them, eyes wide shut. Dormir installation is an experience on intimacy and revelation; it is an echo to the performance Forget-me-nots.
Forget-me-nots is a love story, a dead love story, an abortive love story, an impossible love story. In 2005 in Lyon, at Les Subsistances, I show my performance “Requiem for DJ-Derek Jarman” : it is the beginning of my odyssey through Jarman’s art work. While reading his books, I find out about Keith Collins, his friend and colleague.
In august 2006, I go the Dungeness Cape in the Kent (UK). I sleep in Derek Jarman’s bed, in a dead’s bed.
I cannot free myself from Dungeness. I visited a dead’s house. I slept in his bed. Dungeness Cape is Propero’s island.
Keith is watching over the house. I saw he had a forget-me-nots tatooed on his right hand.
