Peuplé, dépeuplé

Un solo chorégraphique pour se tirer le portrait et se régler son compte ! … dans la fureur des pulsations insufflées par un duo guitare basse-batterie, présent sur scène, à la fois rugueux et sensible.

This choreographic solo takes off in the assault of the Self, in the  fury of the pulsations insufflated by a bass guitar-drum duo, present on  stage, at the same time rough and sensitive.

A maze made up of about thirty steles with multiple and moving  properties becomes the minefield of the agitated, stable, blind “I”.

Here the mourning of our certainties is played out, between resistance and renunciation, abandonment and deliverance.

A questioning on the states of being in front of itself, carried by a  rhythmic, animal dance where nothing is consciously created, but arises  in what escapes.

The movement makes the cracks resonate, lets us glimpse the breaks,  reveals the fragile strata of what makes us up, to better detach  ourselves from them.

Towards what end? Erasure or renewal?

A solo on mourning then, which can make sensitive through dance and  stage this passage, this in-between, where attachment, resistance,  renunciation, abandonment and deliverance are entangled.

Attempting to decentralize oneself in order to thwart oneself  requires setting up renewed, specific creative processes, some of which  are still to be invented.

Also to go to the end of this experiment, it is the very intervention  of the will which is put aside, the piece draws exclusively its basic  material from elements elaborated in dream or revealed under hypnosis.  The idea is that all the choreographic material can take its source in  the heart of the author, without him being able to claim anything,  neither belonging nor ownership.

The project thus holds its specificity in this proposal of not  wanting to “create” anything, and to seek to make emerge only  pre-existing elements, by “offering” them the possibility of realizing  themselves.

The states of the body, the states of dance will be privileged. This  mourning must be rather than a story, an ordeal where the dancer’s body,  before any other element, carries by its successive choreographic  mobilizations the dramaturgical stages of the piece.