La sommation des acouphènes_A Quiet Life Under The Ground

It was in 2016 that the death of the female mygalomorph Number 16 was recorded, her insides devoured by the larvae of a parasitic wasp. She was 43 years old, making her the oldest spider in the world ever observed. It was only in 2019 that the echo of this death reached me, its energies reverberating around the layers encircling my spinal cord. At the same time, I discovered L’enquête des acouphènes ou les chanteuses silencieuses by philosopher Vinciane Despret, in which she describes arachnologists who, through experimentation on spiders, develop a strange form of tinnitus. It is with this premise that the following story can be shared: two investigators from the paranormal brigade, lookouts for a community of mygalomorph humans (we will come back to this), go into a burrow. It is in this underground chamber that they discover the empty body shell of Number 16 composting the clay soil. Something has happened to these organs that cannot adequately be explained by science. An abstract and poetic musical story then follows, oscillating between reconstruction, song and performance. On a colourful, solar-tinted stage set, performers negotiate a haunted science-fiction space where they (dis)order themselves around a vibratory cacophony of screams, bites, and clues that appear without rhyme or reason. A performative fantasy show where Gui B.B explores the potential for inverting the musical theatre genre as well as the techniques specific to investigative storytelling to create a spectral camp space. A sort of humid and erotic X-Files, populated by trans-spider telluric incantations.