Trois regards intérieurs

Adapting to the screen Odile Duboc’s “Sept jours, sept villes” (in situ intervention)that takes places in some cities of eastern France, Harold Vasselin shoots the show of the street being gently transformed by the choreographer.

Three static shots. Three places – a crossroads in Sochaux, a park in Besançon, a pedestrian street in Montbéliard – through which cars, people walking and onlookers pass. At times, imperceptibly, the population freezes, everyday gestures softly echo each other, attitudes rhyme and respond in canon. An underlying order of things takes shape before immediately unravelling.

Adapting for the screen Sept jours, sept villes, an in situ action by Odile Duboc in the cities in the East of France, Harold Vasselin places his camera in front of the street scene delicately transformed by the choreographer. The motionless frame becomes the collection of tiny actions that the choreographer attempts to deposit in the urban landscape with the subtlety of chance. The cinematographic and choreographic positions respond to each other and, together, define a sort of new objectivity. This is an essential document for understanding Odile Duboc’s approach and the erudite danced compositions she then deploys on stage. A return to the origins of her choreographic journey that began at the end of the 1970s in the streets of Aix-en-Provence.

Source : Patrick Bossatti