Summary

Peter Morin' show, deliberately narrative, fantastical and symbolic, was calling for a cinematic transposition in which objects, actions, gestures, without losing anything from their power, would be used differently, liberated from real time, linearity, theatrical space. The use of cinematic language (i.e. numerous framings, dark and light opposition, camera motion, superimpositions, different rhythms at the editing) permitted this transposition.