Des horizons perdus

“The landscape starts with a testing of body and senses, with the story, immediate or delayed of this testing. Going through a garden is always a journey, a succession of footsteps, gestures, prints, smells and sounds”

The landscape starts with a testing of body and senses, with the story, immediate or delayed of this testing. Going through a garden is always a journey, a succession of footsteps, gestures, prints, smells and sounds: it is a choreography which creates the landscape in which one inscribes one’s own story in the stories of others.

Choosing of a garden as the reference space for dance and for the conception of a new work is to reconnect with its basic components: a place of human action, a world vision, a space where the movements of the occupants and those of nature interfere with each other. It is also to see and rediscover the analogies between its history and that of stage performance, as a garden is an experiment in staging, an attempt at sublimation. Its ambitions come close to those of a work of art.

This choreography is made up of successive visions transformed or renewed by the dynamic of the staging and the diversity of the environmental worlds, evoked by a video and musical creation. If the music and image explore the imagery of the garden and revisit the stages of its evolution, this is in order to invent new creative and critical spaces, given over to (the presence of the) dance. Resonating with the stimulation of sonic and visual spaces, the dancing body imagines itself to have a new presence and slips into different physical and compositional registers. So, by passing through this reference, a new type of project and experience is created. For it is via the theme of the garden that the idea of the staged performance is re-explored and put into perspective. It is certain that bringing together video, music and dance in the transposed stage setting of a gardening project, is to raise questions about the nature of their relationships, imagine new dialogues and experiment with their capacities to offer new ways of writing.”

Source: Hervé Robbe