La Passion de Judas

Far from the theological quarrels that may have accompanied the discovery of the manuscript of the Gospel of Judas, this project offers a particular look at one of the strangest characters in the Christian gospel. It is neither Judas the traitor, this “being eternally devoured by Satan”, nor the “sacrificed” without whom the process of redemption would not have occurred, which is shown here, but a lost man, overwhelmed by doubt and haunted by its contradictions and internal questions.
A singer, countertenor in the middle of the stage, engulfed by an immensely empty space is facing loudspeakers surrounding the public and becoming in his way, the renounced and the accuser.

He sings and speaks with a language that is incomprehensible. Our only connection with the meaning is through a projected translation on the walls. An indelible subtitling that clings like the violent trace of speech on the walls of the theater until the invasion of all the space. The sentences fill the walls, look for a place to appear, overlap and become illegible, disappearing in the spread of the whiteness of the letters. The meaning is blurred and cut off from us. Are we facing the madness and despair of an individual? Or are we incapable with our prejudices and the blindness of our certainties to seize a deep quest that eludes us? This whiteness that invades space would it be the erasure or on the contrary the culmination of a space of extreme light, of a mystical light?
This Judas, who could find an echo in each of us, would he be in search of a truth that we can not hear? What happens to our judgments, our certainties? What do we know about the truth of the other and our own? Where is the border between madness and enlightenment? The understandable and the incomprehensible? The ‘bad’ and the ‘good’