A kind of twilight, The Blue Hour (l’Heure bleue) gives metaphorical context to the eponymous performance of Georg Keller (Zug/CH, 1980). Staging three autonomous figures, Keller draws a critical statement about the game economy. A street vendor acting illegaly works out of sight, while a salesperson greets customers. Representational roles, comforting illusion of well-done labor, identities’ dissolution, processes of disengagement in aid of the system, takes of the expenses made in the name of the consumer society : these are some of the aspects that the moves and actions’ cycling highlights. The intervention of a third protagonist interferes in this double vain perpetuity. A picture of London’s Speakers’ Corners, that last character reads out loud excerpts from a text by Charles Fournier (Besançon, 1772-Paris, 1837) – published in 1845 in La Phalange*–, about bankruptcy.
The new project L’Heure bleue belongs to a scenographic experiment, as Georg Keller himself puts it ; similar to Italian films of the 1960s, which simultaneously show various ongoing scenes, the performative means contribute to accomodate two opposite sides of the economy through the conflict that is generated by the need for attention each character asks for.