Twenty-seven perspectives

“The music is in Maud Le Pladec’s choreographic work a place that could be described as essential: at the same time a basis, a method of composition, of acting power, it is what dance brings out: against which she struggles or with what she dialogues or merges. For this creation, which follows her appointment to the direction of the Centre chorégraphique national d’Orléans, Maud Le Pladec wanted to return to the blank page, to ask what was her dance; as an opportunity to rethink the bases, modes of structuring.
The Twenty-seven perspectives mentioned in the title, refer to the work of the artist Rémy Zaugg, who has engaged in his work 27 esquisses perceptives, the attempt to exhaust a painting by Cezanne. How to re-examine these artistic monuments belonging to the collective unconscious? In the manner of an “investigation of the perceptive act”, Maud Le Pladec, accompanied by the composer Pete Harden, dug out the structure of Schubert’s famous Unfinished Symphony to extract a series of subjective and fragmentary reinterpretations. By a radical act of dissimulation and spectralization of her presence, she moves the coordinates of the dance / music relation to open all the kinesthetic perspectives allowed by this negative inscription. The dancers become the writing of a music just as much as the vehicles of its renewed expressiveness. Act through this score that makes the dance vibrate, the tenfold, the tear, the bodies embark 5 on a frenzied exploration of space. In a dialectic between enlightenment and madness, hollow and full, Twenty- seven perspectives introduces a constant back-and- forth between choreographic composition and hidden symphony: a virtual and virtuoso counterpoint between hearing and gaze, movement and vibratory traces silence in trompe-l’œil.”
— Gilles Amalvi