During the first "statue modeling" scenes, participating citizens quickly associate significant words with the postures to suggest, assume, and interpret. In the first modeled scene, the words evoke paradoxes: on one hand, calm and unity confront sensations of discomfort, awkwardness, constraint, and tension. One can imagine that the "disruptors" (pollution? endocrine disruptors?) act as elements that blur collective inter-individual connections. A compact, oppressive, tense sculpture emerges. The elements are inseparable, almost entangled, creating an impression of suffocating fusion and impossibility of separation. The body of ammonia is enclosed, bearing the others, supporting their rest. The image might evoke the invisible burden represented by a corrosive gas, often ignored.
This first modeled scene can also be associated with an overburdened mother between a father (lead) and a child (pollen), both resting on her, creating a heavy emotional and physical load, an impossibility of existing for oneself. Finally, this first statue could highlight confusion in understanding and acting in the face of pollution. There is difficulty distinguishing responsibilities and finding clear reference points within a complex, interwoven system. This may evoke a form of collective impasse in managing the effects of air pollution: everyone suffers, everyone participates, yet no one knows exactly what to do.
In the second scene, the bodies are more organized, and the idea of sorting between "good" and "bad" elements emerges. The "polluted" version of the third play could be a metaphor for natural selection as a consequence of an environmental crisis applied to flora, with bodies adopting disabled, incomplete, or constrained positions. All these elements provide fertile ground for the continuation.
In the final "modeled" play, the paradox imposed by future environmental challenges for participating citizens becomes clearer: on one hand, a feeling of isolation is perceived, while on the other, resistance emerges in response to this perception through a shared awareness. Two movements coexist: one frozen, the other in motion. This may symbolize a future societal split: those who remain within a polluting and rigid system on one side, and those who open up, liberate themselves, or seek to escape this deleterious environment on the other.
From this first part of the scenodrama, three cross-cutting axes of interpretation can be drawn:
- Sensory experience and environment: each statue engages the body and perception (contact, pressure, lightness, verticality, oppression), materializing the effects of air pollution beyond scientific discourse.
- Confusion, invisibility, saturation: these terms permeate the collective history: the impossibility of distinguishing or clearly identifying causes. An invisible overload that hinders breathing and movement, capturing the sensory experience of pollution in society.
- Possibility of evolution: the succession of sculptures suggests that despite the initial heaviness and confusion, openings exist: through awareness, modeling, and collective organization, a form of renewal becomes possible.
F=Facilitator, P=Participant
