HURLULA extends the research on the voice and the ventriloquie that Flora Détraz has already approached in Muyte Maker or Tutuguri.

Between howl and howling howlla takes the cry for this choreographic subject.

Sleeping into its strength as a desire to overwhelm, the howling has the potential to express an infinite range of emotions in their rawness and their spontaneity.

These sounds break the silence at night, burst the agreed frames, distort face and body.

Of rage or pleasure, horror or joy, dread or frightening, the cries are traces of our animality, our childhood premium or the vestiges of very old rituals.

They spring from the depth of our flesh, they are the point of our interiority and draw a chaotic sound landscape.

This is why the choreographer has chosen to add a film to the scenic work.

Inspired by the dreamlike of surreal cinema, the video hollows out the purpose of the play, and offers other rhythms, other sets and other illusions, such as an imaginary projection of reality.