Souvent en de lents déjeuners...

This dance is an exploration of reality: a thank you for existing, for being able to perform on this planet, and at the same time a moment to feel sorrow, to acknowledge the absurdity of this world, its violence, and its inequalities. A piece that balances gratitude for life with melancholy in the face of what causes pain.

Through a poetic and synesthetic exploration, multiple senses combine, influence one another, and respond to one another. Color flows through the music. Variations in intensity mirror the expression of a mask and a stick. A groove triggers a gesture, a gesture triggers a word, a word triggers a memory, which in turn calls to the body through new sensations… This imagery becomes the structural principle of the piece: a capillary diffusion of energy, moving from raw material toward something more expressive, more meaningful, until it is embodied in language. From gesture to word. From matter to presence.

And this language, too, is built up gradually. A sound becomes a syllable, a syllable becomes a gesture, a gesture becomes a sentence… and everything starts over, veers off course, collides—like a ball in a pinball machine. For the solo possesses this kind of violence as well: the violence of unpredictable rebounds, of collisions that trigger chain reactions, of energy that never quite settles. The writing begins with an absurd game, sounds that slip, flip, and change meaning at every turn… Only to shift toward a poem that, for its part, reflects a difficult reality: that of a violated childhood, of confiscated innocence, of what in the world is unacceptable and yet real.

The very difficulty of uttering this second poem—scattered between body and voice, between spaces and silences—says something about the difficulty of seeing the reality of violence. The body-voice assemblage becomes an attempt, not to resolve, but to share fragments: sequences where the various apparitions, in their resonance, seem to respond to one another.