Tiamat

The anchor point of the play is linked to an event which is the second bombing of Baghdad in March 2003. This first impulse then raised, the myth of Tiamat, (the sea) born of Babylonian cosmologies. But the first step, an instant echo to this trauma, was to choose Debussy’s music for its “therapeutic” virtues: the idea was to absorb shocks and give birth to a body that builds.
The solo is based on a principle of verticality, or at least resistance to gravity. This is accentuated by the decor, a ceiling of steel plates and medical pockets, designed by Christophe Gonnet.
The presence of this piece influences the dancer, delimits his course (the shadow cast on the ground) or acts in a certain way on him, while his body, at times resists pressure, aspires to elevation. Franck Besson worked out the light according to this structural constraint of the ceiling, creating a sometimes abysmal atmosphere.
The presence of the room on the ground, a wall of water, reminder of the materials of the ceiling and represents a “source” place, a strategic presence in the play space.
The solo is danced to contemporary music by Jean Louis Clot composed in response to “La mer” by Claude Debussy.
It started out as a global project in the form of a diptych that included a solo response by one byte, danced to the original music of La Mer by Debussy.

Source: Compagnie La Trisande

More information: https://trisande.pagesperso-orange.fr/trisande/Accueil.html