Jours étranges

On music of the Doors, the piece evokes approaches – first love, games, despair passengers from empty – teenagers statements.

In 1967, Maria, a young American and a student like me at the Centre International de Danse directed by Rosella Hightower, brought back in her luggage from a family holiday the newly released second album, “Strange Days”, of a group nearly unknown at that time in France, ‘The Doors’.

I remember these sort of ‘beatnik nights’ we used to spend, lulled by Jim Morrison’s warm voice; the atmosphere of these ‘strange days’ quite corresponded to the distress of our adolescence which was looking for its own values in what became now a kind of mythology. This age also experienced ill-defined and obscure desires of revolt against norms and established codes.

As I listened to this music a few months ago, I felt ready to face this page of my own past; maybe because this music, about which I have  no real opinion except that it deeply moves me each time I listen to it, has already become a bit hazy and allows me now to feel again something which is not very far from what I can feel today, when my questioning and my search for adventure still come up against new conventions, systems which once more become burdensome and which need, apparently, to be shaken immediately.

So, let’s say that with this play we try again to begin ‘to shake’.

Sources: Dominique Bagouet, “Programme of the Bagouet Company” – July 1990