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Dramatic Art

I have been shattered into a million pieces as a leitmotiv for these beings that come to life on stage, who have been deconstructed in the search for themselves.

The body is no longer observed in its entirety but as a fragmented whole. So begins a decoding of each fragment that holds an entire existence within itself, is self-sufficient and possesses its own coherence and dynamic. It is an unfinished work of art, an incomplete whole that is not isolated or closed. Each fragment becomes the setting for a story, which will eventually, but not necessarily need to be completed. It could also be one of the keys to a puzzle or even the camera angle through which one discovers another aspect of the body, of one’s self. A part that suggests the whole albeit a malleable, changing and disparate whole.

The dancers explore their own bodies as though they were their private diaries. They revisit this discontinuous whole, split into zones of shadow, emotional snapshots, sketched thoughts, undisclosed feelings etched deep into the flesh. The body’s memories are uncovered: the parts of yourself that are left behind in a relationship, an illness or a significant event; and those that stay with you through encounters that make you evolve or grow.

The body as an exploded mirror-image of myself, but also as a fragment of the world it reveals and calls into question. These traumas, this violence, recur in the dancers’ jerky movements.
The de-construction therefore becomes a way of accessing the individual and collective story, not so that they can be reformed into coherent and linear collections, but more so that they can be understood in their opaqueness and their complexity.

The stage becomes the place of a possible rebirth for these disassembled bodies attempting to reconstruct themselves by meeting others and exploring new relationships between their limbs. These ephemeral entities awaken only to deconstruct themselves a moment later. The formation of the fluctuating organisms causes reflection on the collective subject, which in searching for an unattainable unity, contradictorily affirms their uniqueness and expresses its refusal of a homogenising whole. Fragment 14 is the missing piece. Following the example of Isis on the search for the limbs of her late husband, the dancers are consumed by the quest for an elusive whole. And the choreographic movement is animated by a counter-impulse, it disrupts just as much as it tries to weave a link between the parts.

Following a Research Masters in Theatre Studies, Clemence Bordier is currently completing a thesis on the relationship between the obscene and contemporary theatre. She is concurrently fulfilling an internship in dramatic arts at the Théâtre National de La Colline.