Poetry

After her mysterious Professor, Maud Le Pladec has continued  her choreographic exploration into the music of Fausto Romitelli. The  expressiveness of this hybrid work, interwoven with spectral harmonics  and wild riffs, transforms it into a laboratory fertile for  experimentation. For the second part of her diptych, she has tuned her  choreography to Trash TV Trance – a convulsive jewel for electric guitar.
With Poetry, the narrative exuberance of Professor   gives way to meticulous abstraction: it is no longer a question of  “physically translating EVERYTHING we hear”, but rather of chiselling  out fissures and rhythms: letting music and movement slip by side by  side like passing landscape, until they form a shifting territory for  listening.
To wrap the bodies in a vibrating tapestry, musician Tom Pauwels has  seized this saturated score, doubling its loops, elongating its  tormented material. Like a chisel, the guitar carves out the stage  space, widening it, sending the performers direct current energizing  them, while radiating a slow modulation of bodily states into their  limbs.
Haunting but discreet presences, flirting with limits, as performers  Maud Le Pladec and Julien Gallée-Ferré play with the repetitive essence  of sound, varying the ways of slipping in or out of it, marrying its  incessant metamorphosis. Fragile icons, in friction with the ritornellos  and feedback ripping apart the continuum, they move towards an  elsewhere, a shared frequency.
Between the nexus of the guitarist’s jolting convulsive body and the  dancers’ automaton body – in turn anguishing, meditative or burlesque – a  line of horizon is traced out: the vanishing point for a possible  unison between gesture, music and words.

Gilles Amalvi