L.O.U.P.

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“I want to plunge my dance into Turak’s universe, soak the dancers in this bath. The commission I give Michel is as follows: imagine universes, objects, characters, puppets who must be opportunities for play for the choreography.

L.O.U.P is not an object theatre show. There is no question of me transforming the dancers into actors or manipulators. All the devices imagined by Michel will be supports for the choreography. Turak’s poetic universe is not a constraint, but, on the contrary, will open up doors for the dancers. I leave the words that have followed me for the past ten years to approach, with Michel, a poetic and sensitive choreographic writing around the wolf. I say around and not on as we shall avoid touching the wolf too much (it’s not a good idea). 

We shall turn around it, watch out for its tracks in us and around us. For this, we shall sound the memories of bodies and objects, and question them before placing them into movement.

For this encounter, Michel Laubu and myself wished to use a theme that is meaningful in both our languages. I didn’t want a narration (too restrictive for choreography). The wolf is not a work theme but rather a starting image. We shall work on this image, its memory and its various forms. We shall start from the wolf, functioning by association of ideas or images (and not in an encyclopaedic manner). From Little Red Riding Hood to the young, ambitious executive, not to forget the hunt and angels, we shall let the wolf fantasy impregnate objects and bodies. 

The aim is not to represent the wolf as an animal (Canis Lupus) but to track down in each object and in each human body, the dream wolf.”