Monday, February 1 at 2:30pm – Session reserved for press and professionals
〓 Press kit 〓
– Myriam Gourfink / ARCHE
Dance, Music
With Deborah Lary & Véronique Weil: dance / Kasper T. Toeplitz: bass & live electronics
In her latest creation, Myriam Gourfink explores for the first time the classical figure of the duo, seeking to make the softness and intelligence of touch legible and palpable. Observing the quality of the encounters between Véronique Weil and Deborah Lary in the studio inspired her to sublimate this state of being together.
To do this, the choreographer completely erases the notion of effort, or at least displaces it in favor of the precision of feeling; but she also eschews spectacular virtuosity in favor of an invisible virtuosity centered on the knowledge of weights, counterweights and levers, on the fine appreciation of distances, and on a meticulous spatial adjustment. She creates volumes, roundness, thickness, and above all nothing that pulls on the structures of the bodies, nothing that harms them – creating unexpected balances, surprising ergonomics.
ARCHE also questions the capacity of the dancing body to produce an involuntary dramaturgy: how does a score, made up of abstract indications, provoke meaning for the beholder? Drawing on the full spectrum of relationships between heads and faces in the Laban dictionary, Myriam Gourfink chooses relatively open-ended notions, so that the final choice is made by the performers themselves, as they adapt the indications, through sensoriality, to their morphologies and imaginations.
Live, two musicians are also face-to-face, with the same set-up: two electric basses, two computers, iPad controllers. Like dance, the dual relationship is not one of confrontation.
On the contrary, being together is an augmentation: two heads, four hands, two basses, two identical electronic installations to access the polyphonic multitude.
Choreography: Myriam Gourfink
Assistant choreographer: Carole Garriga
Composition: Kasper T. Toeplitz
Performance: Deborah Lary and Véronique Weil
Bass & live electronics: Kasper T. Toeplitz
– Biño Sauitzvy / Under the Ground
Performance, Dance, Circus, Theatre
With Cyril Combes and Lorette Sauvet
Between dance, theater and circus, Under the Ground explores animist and ecosophist practices. At the heart of this creation: the forest, its inhabitants, myths and legends.
The figure at the center of the stage is none other than a tree, countering the anthropocentric approach that places man at the center of the universe. This majestic tree, created by visual artist Lika Guillemot, represents both an individual and a whole, an ecosystem from which other inhabitants will emerge.
It’s a micro- and macro-cosmos, which will reveal beneath its long roots and ramifications a whole other subterranean microcosm that we don’t see on the surface, in everyday life, in cities: hybrid living beings, half-human, half-plant, half-animal, fantastic beings populating mythological tales.
Initially in larval form, these beings find themselves linked, like the double beings at the origin of the species described in Plato’s The Banquet. They then separate, in a process of individuation. Duality appears, one becomes two, and existential questions arise.
This is the origin of an archaic drama, the separation of complementary opposites. And it is through the example of this relationship, like that of the mythical Gemini (Cain and Abel, Romulus and Remo, Omama and Yosi, etc.), of the androgyne, but also of Beckett’s characters such as Didi and Gogo, Mercier and Camier, from their union to their separation in a battle for life, in a trajectory that is a branch of life, that this mythical drama is rewritten.
Concept, direction and choreography: Biño Sauitzvy
Set design and artistic collaboration:Lika Guillemot
Creation and performance:Lorette Sauvet and Cyril Combes
Music:Bianca Casady (CocoRosie)
Lighting: Baptiste Joxe
► Teaser
