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Research concentrates on the body as a whole so that it can then be examined in isolation. The many possibilities offered by the body when confronted with this de-fragmentation are explored. This requires breaking the movement down to the extreme and makes it necessary to pay particular attention to the shapes created by the body going from the micro-gesture to expansion. Every detail is therefore of great importance and drives the evolution of the movement. This physical text is therefore constructed progressively, with precision, meticulous care and finesse.

This approach encourages the dancers to renew the way they view their own bodies. By first thinking about deconstruction, their choreographic training, their routines and their automatisms can be “erased” to achieve a certain level of physical neutrality. This is why we choose to work with interpreters who have life experience, a history.

Once the initial movements have been defined, then begins the long process of appropriation by the dancers; a period of improvisation and vital freedom, left open to the interpreter, but based on a precise text for that which is to be interpreted, a text which is enriched on the other hand, by the artists’ contribution.

Inevitably the dancers and the construction of the choreographic movement itself will evolve permanently over the course of the rehearsals and in accordance with the personalities of the practitioners. Each person will interpret this text differently according to his or her particular physicality and unique history. The choreography expresses the awkwardness of the initial gestures, looks for the animalism of the movement. The individuals therefore come to life on stage. But a unity is revealed within this disparity through the choreographic relationships woven between the interpreters.