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Concrete
with the Ictus ensemble, based on Michael Gordon's musical work
“Since Professor, Maud Le Pladec does research on dance connections on the expressive potential of contemporary music. From Fausto Romitelli’s rough distortions to Julia Wolfe’s rhythmic constructions, she clears sound territories that push her to challenge her choreographic vocabulary – inventing forms that dialogue, interact, resonate, or rub against the singularity of these riffs, frequencies and loops. Continuing the exploration of American post-minimalist music begun with Democracy, Concrete dives into a dense and colourful material. Written in the mid-1990s, Michael Gordon’s Trance suggests the minimalist influence of the 80s and 90s noise filter: this score, both repetitive in its structure and baroque in its textures, allows him to experiment with aesthetic hybridizations, where the orchestra collides with pop, glam-rock with meditation.
frenetic dancefloor to the immobility of the statues. Like intercessors who circulate the intensity of the instruments to the bodies and the bodies to space, they never cease to interact or disturb the musical flow, to blend into it or to widen its perimeter. Connected to alternating current, their silhouettes highlighted by light drift along these transes as signs bearing intertwined reference layers. Between inner journey and transformation of space, Concrete deploys different levels of listening and porosity to music. Invisible or overexposed, the dance digs into the holidays, cuts the scene, erases, rewrites, highlights, amplifies – activating a phantom, subliminal perception, where everything seems to float between infinite speed and vibratory immobility. »
— Gilles Amalvi
“Since Professor, Maud Le Pladec does research on dance connections on the expressive potential of contemporary music. From Fausto Romitelli’s rough distortions to Julia Wolfe’s rhythmic constructions, she clears sound territories that push her to challenge her choreographic vocabulary – inventing forms that dialogue, interact, resonate, or rub against the singularity of these riffs, frequencies and loops. Continuing the exploration of American post-minimalist music begun with Democracy, Concrete dives into a dense and colourful material. Written in the mid-1990s, Michael Gordon’s Trance suggests the minimalist influence of the 80s and 90s noise filter: this score, both repetitive in its structure and baroque in its textures, allows him to experiment with aesthetic hybridizations, where the orchestra collides with pop, glam-rock with meditation.
frenetic dancefloor to the immobility of the statues. Like intercessors who circulate the intensity of the instruments to the bodies and the bodies to space, they never cease to interact or disturb the musical flow, to blend into it or to widen its perimeter. Connected to alternating current, their silhouettes highlighted by light drift along these transes as signs bearing intertwined reference layers. Between inner journey and transformation of space, Concrete deploys different levels of listening and porosity to music. Invisible or overexposed, the dance digs into the holidays, cuts the scene, erases, rewrites, highlights, amplifies – activating a phantom, subliminal perception, where everything seems to float between infinite speed and vibratory immobility. »
— Gilles Amalvi
