• Thursday 15 September 2011 - 20h30
• Friday 16 September 2011 - 20h30
• Saturday 17 September 2011 - 20h30
• Monday 19 September 2011 - 20h30
• Tuesday 20 September 2011 - 20h30

2 CHOREOGRAPHIES, 4 PROGRAMMES FOR ONE EVENING

In Gerro, Minos & Him, 2nd prize of the Dance at its Broadest 2010 competition Simon Tanguy, dancer, clown and philosopher, grappled with the domination and manipulation of a choreographer, Aloun Marchal, and of a playwright, Roger Sala Reyner.
With his solo Japan, Simon Tanguy does battle against another enemy, invisible yet incessantly aggressive. This dance of mortal agony produces movements beyond control, entails falls and spasms, is full of bawling and howling but it is also swinging and snapping.
The epigraph is by Nietzsche, “To live is to constantly repel what tends towards death”. In a white tuxedo and barefoot the dancer hurls himself into an ever winning battle for life. As he explains “this is a manifesto for the joie de vivre, and for death; I chose to go back to expressionism, to the spectacular transferred to movement.” His movements conjure up “a body-in-insomnia, a body-in-dream, a body-in-death” that speaks, occasionally sings and always gets up again.

Noé Soulier uses pantomime for D’un pays lointain, the vocabulary of classical ballet in Le Royaume des ombres or the role of canonical and mirror neurons in finalizing actions with Petites Perceptions. Winner of the first prize of the Dance at its Broadest 2010 competition Noé Soulier definitely gets the whole body, including the brains, to dance. His arguments are grounded in cognitive topics, they explore the visual or kinaesthetic perception of movement thus inevitably entailing a consciousness of vision inseparably linked with its destabilzation. “It is precisely the tensions between movement, language and sensation that interests me”
D’un pays lointain. By unravelling the implicit codes of the grammar of bodily movement and of the classical ballet vocabulary, he intends to make us apprehend “the space between the different messages, the visible and the audible.”
 

Fabienne Arvers