Part of a process

More and more, I consider that each new show is a stage in a longer process. And I feel that this process is now undergoing some profound transformations. This project takes this evolution into account. A brief look back at my most recent pieces brings me face to face with these changes and gives me the chance to identify a number of key elements that I would like to develop and radicalise.

• The raw material of dance – movement
An evolution towards a sort of functionality of movement, which is defined more and more in terms of a series of actions to be realised. Dance then emerges thanks to the qualities, rhythms and distortions put in place. A flight of decorative movement. Underpinned by a long period of writing.

• A question of meaning
Instead of talking in terms of theatrical moments, let’s rather talk about the presence of explicit moments in which the meaning cannot be diluted. In this context, it’s less a matter of working on narration than of provoking enlightening juxtapositions between the dancing (which we could define, in terms of meaning, as impressionist) and other very explicit moments (nearer to photo-reportage). Paradoxically, one could almost consider this juxtaposition as a form of detachment. A kind of schism between a direct reading of the situation, within the reach of all, and a more sensitive, intimate perception.

• Collaboration with the dancers
Over the last two to three years, I have developed a way of working with the dancers which enables us to realise a maximum of their creative potential, and which allows them to be more involved. This approach mingles improvisation and composition, and involves a reorganisation of rehearsal time so as to allow individual work.

• The artistic team
A new artistic team has come into being. The collaboration with Laurent Junod, lighting creator and Christophe Bollondi, conceiver of sound environments, proved itself to be both fruitful and stimulating in (ob)seen. We will pursue and develop this partnership. The dancers, of course, remain the central element, but our outlook is now more and more focussed on conceiving the show as the meeting of different, almost autonomous universes, both visual and musical.

• The laboratoires
Between May and December 2004, we have held four laboratories, each one lasting a week. Those participating were the Company’s own dancers, though other dancers have also been invited. Whilst each laboratory is built round a different theme (writing about movement, lighting, content, treatment…) all of them aim to offer an opportunity to research, but also to identify the key elements of the next artistic creation, and to meet the dancers in a more creative context than that of an audition.

“Explosive and dynamic. The reflection of a society in a permanent state of emergency.”
Martina Wohlthat, NZZ, 26.9.2005