TOT

Benjamin Kahn (France) - Bless the Sound that Saved a Witch Like Me

“Bless the Sound that Saved a Witch Like Me” sounds like a cry for help, shaking us awake to the many crises of our time: geopolitical, ideological, and ecological. In a physical and sonic journey, Sati Veyrunes takes the audience on a search for beauty, harmony, and urgency. She moves effortlessly between different emotional states and blurs the lines between genders, transforming into a mother, a youth, or a creature – figures that are as powerful as they are vulnerable.

In this solo, choreographer Benjamin Kahn places the scream at the center. Not as a mere expression of emotion, but as a powerful tool to reclaim a vital impulse: raw, honest, and full of meaning. The scream is an intimate, instinctive act that evokes immediate empathy, whether it arises from anger, joy, pain, or silence. And yet we often shy away from it: too loud, too intense, too inappropriate. This performance invites us not only to hear that unfiltered sound, but to understand and embrace it.

“Bless the Sound that Saved a Witch Like Me” is the final part of a series of dance portraits in which Kahn collaborates with various performers to make their stories, bodies, and voices visible. After Sorry, But I Feel Slightly Disidentified... (with Cherish Menzo) and The Blue Hour (with Théo Aucremanne), he now works with performer Sati Veyrunes and composer Lucia Ross. Over time, the series has come to be increasingly carried by women who position themselves with power and autonomy – a strength that deeply inspires Kahn.

Photos