So sorry (now please watch)
Between humour and discomfort, So sorry (now please watch) is a grotesque, biting theatrical duet that dissects the mechanics of online apology videos. Bodies lose control, faces collapse, emotions overflow: the performance reenacts, subverts and pushes these public confessions to their extreme, exposing the absurdity and fragility of performative remorse.
- 19-30 january 2027 Théâtre du Jura — Delémont, CH
Jura-born director and performer Arianna Camilli explores the phenomenon of apology videos that have proliferated across social media in recent years. In these public confessions, YouTubers, artists and politicians film themselves alone in front of the camera, responding to accusations—often of sexual misconduct. Having become a genre of their own, these videos follow a familiar script: carefully staged remorse, emotional outbursts and solemn speeches. The goal is rarely to apologise sincerely, but rather to repair a public image—and, above all, to keep one's followers.
The performance lays bare the manipulation of emotion in the media, satirises the illusion of intimacy fostered by social networks, and questions the very idea of forgiveness in the digital age.
“I remember Arianna Camilli’s remarkable stage presence when she auditioned for La Manufacture—I was on the jury. She reminded me of Isabelle Adjani, although comparisons between actresses are always imperfect. That intensity has remained with her throughout all her roles and performances. I am delighted that Théâtre du Jura is supporting this creation, whose subject could not be more timely. And I can't wait to see it.”
— Denis Maillefer
Bio
Arianna Camilli, a graduate of La Manufacture in Lausanne, has carved out a unique space where the boundaries of performance and theater dissolve. Their work is fundamentally an investigation into the « friction » of human existence — the tension that exists between text and movement, the tragic and the comic, and the rigid structures of society versus the fluid potential of the individual. By rejecting disciplinary silos, Camilli explores the body as an unstable zone, one that is constantly being written upon by sound, voice, and social expectation. Central to this practice is a profound interrogation of the rules that govern how we use our bodies. Camilli posits that our most ordinary gestures, postures, and habits are not natural, but are instead « embodied choreographies » of dominant norms. The most distinctive tool in Camilli's arsenal is the concept of the « bug » or the « glitch » — a deliberate method of metamorphosis, the moment where the imposed language of society fails, allowing for a trembling of genres and categories. Ultimately, Camilli's work moves toward a state of transformation rather than representation: the stage is not a place to show a fixed image of the world, but a space to actively escape it.