Compagnie Bar d’evel returns to its first love, highlighting the beauty of the creative act in its purest state. In an immaculate space, a living fresco for two dancers and a crow appears, one line at a time. But instead of painting with brushes, Camille Decourtye and Blaï Mateu Trias make the blackness appear through the rubbing of their bodies against the canvas, which is covered in Meudon white. And in the end, the great painting is there, Là, a triptych both abstract and a landscape, with abundant traces of life. Every evening, this choreographic, audio, and visual gesture reinvents its “painting,” highlighting the extent to which Baro d’evel is the laboratory of a unique language between dance, circus, theater, music, and visual arts, imbued with lightness, depth, and openness. And the presence of Gus the crow questions this original couple, as beautiful as it is fragile.

Thomas Hahn