Lointain

Lointain is an outmoded and contemplative piece.
The subject of study in this piece is musical emotion…
How can one create osmosis between the abstract structure of a choreographic project and the “romanticism” of a musical score?
The narrative form of the music serves as a catalyst, a form of emotional provocation as in film: it’s the ear that makes us see.
Playing with theatrical illusion and the apparent “poverty” of its materials, Lointain imposes itself as a foveal piece where all elements are unidirectional: light sources, mono-sound diffusion, dance, singular costumes.
The choice to work from act 2 scene 2 of Wagner’s Tristan und Isolde for a male-female duet came to me like a gamble: Tristan and Isolde do not “consummate” their love. They are in the living flux of becoming and of organic fulfilment, of progressive revelation.
The musical structure of the opera is surprising; its entire architecture is constructed around the search for a note which will only become perceptible at the moment of Isolde’s death… An abstract project which underlies the work; and there again, a gamble.
The work of the body emerges from forty positions taken by the dancers within the everyday space of an apartment, then these positions are decontextualized and reinvented in an empty place; but the layout of the apartment (its blueprint) is preserved, allowing an imaginary spatial disposition to be retained… Following this, a sort of labyrinth is set up in which the two bodies move maintaining a very close space between the two dancers to procure a “sympathetic proximity” in the spectator.  There’s a sort of impossibility of contact, though the bodies are always on the edge of brushing against each other.

Source : CCN Caen, Normandy

Lointain is an outmoded and contemplative piece.

The subject of study in this piece is musical emotion… 

How can one create osmosis between the abstract structure of a choreographic project and the “romanticism” of a musical score?

The narrative form of the music serves as a catalyst, a form of emotional provocation as in film: it’s the ear that makes us see.

Playing with theatrical illusion and the apparent “poverty” of its materials, Lointain imposes itself as a foveal piece where all elements are unidirectional: light sources, mono-sound diffusion, dance, singular costumes.

The choice to work from act 2 scene 2 of Wagner’s Tristan und Isolde for a male-female duet came to me like a gamble: Tristan and Isolde do not “consummate” their love. They are in the living flux of becoming and of organic fulfilment, of progressive revelation.

The musical structure of the opera is surprising; its entire architecture is constructed around the search for a note which will only become perceptible at the moment of Isolde’s death… An abstract project which underlies the work; and there again, a gamble.

The work of the body emerges from forty positions taken by the dancers within the everyday space of an apartment, then these positions are decontextualized and reinvented in an empty place; but the layout of the apartment (its blueprint) is preserved, allowing an imaginary spatial disposition to be retained… Following this, a sort of labyrinth is set up in which the two bodies move maintaining a very close space between the two dancers to procure a “sympathetic proximity” in the spectator.  There’s a sort of impossibility of contact, though the bodies are always on the edge of brushing against each other.