Les cavalières de l'Apocalypse - Sabrina Sow, Léa Dubois, Serge Lazar

The Apocalypse signifies the end of a cycle. It has weighed so heavily on the Western psyche that the term has become synonymous with cataclysm, with the end of the world. Four grand tableaux unfold like an immense tapestry woven from blood, fire, earth and blades. There are cries and caresses, and people running. There are two horses and three figures on the fringes of humanity.

A black woman, often on horseback, blurs the lines: is she the rider, or is she on the run? What is this intimacy she shares with the animals; does she know the codes, or is she inventing them as she goes along?

A slender, blonde white woman embodies Donna Haraway’s ‘Cyborg’ universe; she is at once perfect and repulsive, smooth, conflicted and aggressive; she seems to be both the cure and the disease. ‘I’d rather be a cyborg than a goddess,’ she says.

Sitting slightly off to one side, in a worn-out armchair, sits a weary, ape-like demiurge. He sports the bald patch and beer belly of certain outcasts; he observes, comments, scoffs and even throws cans onto the stage. He is their weary, moribund god. And so it begins.