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1st Part of the quadriptych CULTE:S:

The muse dictates and on some occasions she blows.  

Jeux et théorie du Duende - Federico Garcia Lorca 

A KONFESS, first part of the quadriptych Culte:s: is a performance by the musician Claire Bergerault, proposing a project that is proposed in 2 times: soli for one person (KONFESS IN) then concert in standard measure (KONFESS OUT).

CLAIRE BERGERAULT : voice, compositions, electronics


CHRISTOPHE MACÉ : scenography


DURATION PER PERSON: about 4 minutes.

From the beginning, the scene is set: a large black box, a sculpture created by the artist Christophe Macé, is a confessional.

Two distinct spaces face each other, with a window and sounds in the center. There are lights too. One enters, and nothing will leave this box. The secret of the confession will be well kept.

This is a story of Culte:s:. In four episodes. A Konfess is the first part of this project. Under the velvety tones of this confessional-instrument, which was built specifically for these concerts, wooded intimacies and miniature preachings follow one another. A Konfess, it is a series of very short sensory mini-solos which are specific to each spectator who enters the confessional. Enough to ignite that little bit of mystery that only you can keep secret.


CONCERT DURATION: 35 minutes approximately.

No more Ave Pater, but a collective revelation. This continuation of A Konfess, and its miniature solos, leaves the confessional and intimacy behind for a mass ceremony. These 30 minutes, celebrated with large quantities of electronic pads, sculptural voices and other ritual ersatz, compile out in the open what was been reserved only for select individuals during the confessional solos. 

This project was supported by:

La DRAC Nouvelle-Aquitaine

CNM (centre national de la musique)

MMC (Maison de la Musique Contemporaine)

L’ OARA (Office Artistique Région Nouvelle-Aquitaine).

Le Théâtre des Quatre Saisons (Gradignan)

Le Confort Moderne

Jazz à Poitiers

ABOUT CULTE :S: A quadriptych in 4 solos on 4 seasons


The main theme of this new creation by musician Claire Bergerault will be artistic inspiration and grace in the sense of the duende that Garcia Lorca talks about in his book Jeu et Théorie du duende. The duende is a state of trance and abandonment, a mysterious force that does not belong only to the artist. It draws its power from the universal unconscious, the starting structure, according to him, of all creation.


"To look for the duende, there is neither map nor asceticism. We only know that it burns the blood like an ointment of shards of glass, that it exhausts, that it rejects all the sweet geometry learned, that it breaks styles, that it relies on the human pain that has no consolation." Federico Garcia Lorca, Games and Theory of the Duende.

This project, in solo and with the voice alone, will take the form of a quadriptych where the duende will be summoned in each of the 4 independent tables proposed by the musician. Each part will be an evocation of this universal inspiration found in spirituality across the continents. Prayer is, for the believer, a way to enter in contact with the beyond, as inspiration is for the creator the way to enter in the intimate. 

The musician will focus on psalmody and traditional songs that lead to a state of trance, in order to understand what, through the music of these songs, their codes and their uses, allows one to reach this elevation. It is by observing and immersing herself in these different cultures that the musician will be able to define her own vocal territory on which she will compose these four distinct pieces. 


The plastic artwork: the frame and the elsewhere.


Each of the four parts will be equipped with a particular scenographic device. Its purpose will be to provide a frame and to plunge the spectator directly into this elsewhere that is sought-after. It is a setting in space of all the actors of this performance in this presence of the body -that of the artist and that of the spectator- within the created decor.

The choice of a multidisciplinary solo is in line with the musical tendency of the composer, namely a music which is similar to an artistic thought and a desire to prolong the musical act and to reinforce it by the plastic work.

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