Les fuyantes

Boris Gibé and Camille Boitel’s research focuses fundamentally on the perception of the world, putting things into perspective and a quest for the “vanishing point”. In a burlesque world, the Fuyantes carry the spectators away, deconstructing their points of reference, proposing new angles of view to them… Isn’t reality just simply a construction?

The Fuyantes deals with the perception of reality in tomorrow’s digital society. It takes a real step back from the current system of thought and in particular from the weight that the virtual has imposed on what was, until recently, tangible realities.

For this new creation, Boris
 Gibé focuses once again on circus arts, but also on acrobatic dance, aerial exploration, object manipulation…
 The scenography is based on an evolving principle that makes a magic box, a sort of deformable lycra screen, referred to as the “monade”, appear out of an empty space. It gives the sensation of optical distortions made possible through projections of vanishing lines, lights and shadows projected unto mobile and deformable volumes. The moving décor and perpetually transformed bodies in motion carry spectators away to unstable places, by playing on their trust, their faith in images. Boris Gibé and Camille Boitel worked for two years creating this enormous architecture. To begin with, spectators witness the construction of a town, with sprawling horizontal lines. Struggling so as not to lose the vanishing point, the five performers very quickly become victims of this strange geometric town and end up being locked inside. The acrobats are henceforth nothing more than bodies in motion that depend on each other. They walk, they dance on the walls, climb vertically. In a system that has become autonomous, each of them tries to become partisan, once again, of a reality that escapes them.

The approach: the substance, the meaning, the form

In order to overwhelm, to move deeply, les Choses de Rien wishes to take its spectators on a getaway, a voyage of reflection, going back to roots. An ambition where each individual is offered an impetus to reconstruct, to take stock… With this in mind, an intense world has been created, a world that hangs by a thread, an intimate form where each spectator is invited to delight in the ephemeral reality of the performance; where each spectator becomes an actor reading their own script, and as such able to create a personal vision of the things that are merely suggested. Through generosity, through emotion, the poetic fragility of the moment reveals itself.

Evolutive writing

It was through a lengthy process of creation, going to and fro movement research laboratories, writing residences, scenographic development, making short films, improvisations … that the scenic writing took form and was finalized. The processes used for developing this scenario also focus on new conventions related to virtual imaging (defragmenting images, zooming in on the scene, 3D simulations), and on diverting rather more theatrical conventions: parallel worlds, in camera, evolutive spaces, spatio-temporal mazes, the principle of “mise en abîme ”, etc. These notions will offer us the opportunity to immerse the public in a disconcerting space where points of view are never-ending.

Where does the movement begin?

From a joint past that belongs to our roaming circus life and from a shared desire to break free from our initial practices and head towards writing a new form of choreographic language, where we push the body to new heights, in its command of the ground and the air. The performers’ body language techniques develop from the dramaturgy of the show which is, itself, totally ingrained right up to the final writing. Attachment to the very essence of the circus.

The circus continues to be the matrix of our projects. It is not the demonstrative, colourful or festive specificity that binds us to it, but much more simply the way it approaches the public, its faculty to move the world, its ability to break down barriers and to go beyond the limits. Because, after all, circus is multiple, it thrives on every artistic discipline imaginable, that helps it unveil its “popular art” more optimally, yet it remains inventive and highly-demanding. Nourished by acrobatic dance, aerial exploration, object manipulation, we intend to develop these techniques on materials and equipment such as: scaffolding, bouncing slings, stairs, ladders, slippery floors, wire latticework, timber laminates and perspex plates, climbing walls covered with lycra, magnets, ropes, elastics, etc.). The vocabulary implemented is fun-filled in form. By reviving a certain lightness in the dramaturgy, as such redensified, the vocabulary hits on the most direct…

Source : Maison de la Danse – Programme de salle