A musician and composer, a member of Velma – collective from Lausanne, since 1997 – Christian Gérôme-Gaucher and his BOOOM CIE has worked in a musical universe, with its forms, codes and staging, for the past few years. In 1999, he works more specifically on theatre stages and creates Velmaʼs distinct style, performances oscillating between theater, opera and concert: Cyclique 1&2” (2000), “Applique” (2001), “Rondo” (2002), “Velma Superstar” (2005) and “Requiem” (2007).
In 2010, he signs his first solo projects under his own name, “Glissando” for the City Theatre of Warsaw, “Pastiche” for the City Theater of Bern and is one of the eight artists associated to Stefan Kaegi’s and Lola Arias’ project Ciudades Paralelas, a traveling documentary theater festival produced by cities like Berlin, Buenos Aires, Zürich, Warsaw, Cork and some other locations. His contribution is titled “In the Name of the People” and is performed in court houses: it takes the form of a liturgical concert with a text based on local jurisprudence. In 2012, “Teenage Lobotomy” fits into and takes its source from a double preoccupation: first the audience member in a theatre, for whom the music seems to be an established element, in the background, and often illustrative; and then the consumer-spectator, constantly exposed to a range of commercial propaganda, political or social, who takes a breather in the soft obscurity of a performance space. Then starts the big serie “Serie Opera”, an opera trilogy for two performers which begin in november 2013 with Orfeo, continue with Othello in march 2014 and will end in june 2014 with Salomé. All this performances are based on the original librettos for Monteverdi, Verdi and Strauss, but freely adapted and edited, the musical compositions are original.
At the core of this research is the idea that everything that makes up a scenic device can be created and composed in the same way that notes are written on a partition or sounds in a score. The whole of what is presented on stage takes an entirely new dimension because its elements, even when already potentially representative, become abstract. They no longer serve the precise narrative or meaning but the musical literature now following strict, although different, rules.These shows tried to re-situate the place music holds on stage.