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R.A.G.E. is the second panel of a diptych on censorship.                    

It can be seen as companion piece to "Les Mains de Camille", based on the life of 19th-century sculptress Camille Claudel, who struggled against her era’s censorship. 

 

R.A.G.E. is a also a linked to "White Dog"... it is a  play about a male hero who passionately loves freedom of speech – and is largely successful in attaining it, thanks to his keen ability to manipulate conventions and impressions.

                       

R.A.G.E. tells the life story of a man who tells the truth through fiction. A man who muses on life, and pulls off one of the 20th century’s most beautiful pranks. It is the tale of a successful and lovable impostor.           

                       

R.A.G.E. combines marionettes and magic: the visible gesture of an object being manipulated, and the invisible sleight-of-hand producing the magical effect: admitted, but hidden.

R.A.G.E. is driven by an idea of disappearance and renewal, of eternal virginity, of always emerging pure and new.

                       

R.A.G.E. mixes everything up: audience and actors, set and stage. There are no walls or numbered seats. The auditorium becomes a realm for exploration, and the audience becomes a player in the drama.

                       

R.A.G.E. are actually the initials of the character whose life inspired this show. Often, the true core of a man can be found in what he hides.

                       

And we continue to guard the secret of his identity, sustaining the spirit of his subterfuge. We want to keep our R.A.G.E. intact.