Sames

“SAMES” (contraction of James and Sam standing for J. Joyce and S. Beckett, the two complementary brothers) is the first act of defense raised at the end of ”Ma” and forms the knot required by the bow to complete its symmetrical part. 

My end is my beginning. A reflection on the status of the author and the interpreter, on he who proposes and he who accepts. That of the choreographer and his dancer. The sabotage of a couple who destroys what it builds. At the same time, the place of contradiction, the gap, and the mistake. 

Dancer and choreographer, like many couples, tend to settle on a complementarity and thus to make the other responsible for what they themselves are lacking. In this status, who is who? Revisit the relationship experienced for an instant as a betrayal. Staging the figure of father and son. 

”Sames” thus gives the choreographer first place as the initiator of the creative movement. He enters the stage and roams among the vanished presences. The dancer goes back over the past journey, like an indication on the road map. The son goes back to the father 

If James Joyce is the song of profusion in a language of all languages, Samuel Beckett is the withdrawal right up before the language. Of all the world’s gossip gagged by silence. We get rid of everything. Another shore.  

Black and white (a lied by Schubert Adi is missing) 

Source: compagnie Pierre Droulers