INCORPORER CE QUI RESTE ICI AU CŒUR
accompanied solos #1, #2 & #3
Pursuing this line, INCORPORER ce qui reste, where we arrive in this relay game pushed to a breaking point; incorporating this place anew and incorporating what remains of what was seen and heard, drawing from our visual and auditive memories. The departure point is now that hollow muscular organ which is the driving force of our blood circulation and also the home of feelings: the heart. So, embodying what remains in the heart from the previous experience - INCORPORER ce qui reste – based on the positions in the two preceding chapters by Edith Christoph, the principal performer of this third chapter in the suite of accompanied solos: as a spectator (anonymous in the theatre and hence 'invisible' for the spectators) in the first chapter, and as a listener (on stage, but not visible for the spectators, hidden and deprived of the possibility to see, concentrating on listening in the darkness) in the second one. Then calling on our emotion to gauge what to do or what could be done with the remains of the tangible and the intangible.
This third chapter is conceived in counterpoint to the two previous chapters; there time was stretched, dilated, while here it is contracted, making place for acceleration, the accidental, falling and precipitation.
Now the preceding spaces have been altered: time is compressed, the rhythm is accelerated. The previous elements, liquid and gaseous, remain present, but apart from the initial arrangement, they find themselves jostled, modified and transformed. The production and interpretation of the choreographic score continues to draw on the moment of the dance itself as it is being performed. The question of the movement's intention remains at the heart of the work, but detaches itself from the thought that precedes or accompanies it to make place for the emotion that carries it. Yet the score still demands that the two previous chapters be reactivated.
concept, direction, choreography and visual actions Olga de Soto
lighting Gilles Gentner
sound spatialisation and real-time diffusion Pierre Gufflet
scenography Thibault Vancraenenbroeck and Olga de Soto
clepsydrae Anne Mortiaux
costumes Thibault Vancraenenbroeck
technical direction and set technician Christophe Gualdewith Edith Christoph, Sylvain Prudence, Florence Augendre and Olga de Soto
production Niels Production (Brussels)
coproduction of the series Les Spectacles Vivants / Centre Pompidou (Paris), Centre Chorégraphique National de Franche-Comté (Belfort) in the frame of "l'accueil-studio" - Ministère de la Culture et de la Communication, Centre André Malraux Scène Nationale (Vandœuvre-lès-Nancy) and Charleroi danse / Centre Chorégraphique de la Fédération Wallonie-Bruxelles (Brussels, Charleroi)
with the support of Ministère de la Fédération Wallonie-Bruxelles — Secteur danse, Centre André Malraux Scène Nationale (Vandœuvre-lès-Nancy) (chapter #3), Kunstencentrum Network (Alost) (chapter #2), et Nadine (Brussels) (chapter #1)
research and creation residencies Charleroi danse / Centre Chorégraphique de la Fédération Wallonie-Bruxelles (2006-2007), Centre Chorégraphique National de Franche-Comté (Belfort) (2004 and 2006)
© Pierre Grosbois