Creation 2016, for 8 dancers and 7 musicians
Choreography CATHERINE DIVERRÈS
Artistic collaboration and set design LAURENT PEDUZZI
Musical creation JEAN-LUC GUIONNET
Music performed by ENSEMBLE DEDALUS
SPACE-TIME AS PURE SENSATION, WHICH WE RECOGNIZE THROUGH MOVEMENT. THE DANCER IS NOT A MECHANICAL INSTRUMENT EXECUTING THAT MOVEMENT ONLY FOR ITSELF, RATHER IT IS THROUGH THE SUBJECTIVITY OF HIS OWN EXPERIENCE OF SPACE-TIME THAT HE “INHABITS” THE MOVEMENT (WHICH HAS NOTHING TO DO WITH ITS “AFFECTS”).
“The child does not project, he lives entirely in the moment, feeling that instant without fully being aware of it … Trying to reawaken that childish pre-consciousness of immediacy, of the non anticipation which is instinct and – in the complete other direction, to imagine, to glimpse the consciousness and sensation of space and time happening to an old person: time seems to slow down, space shrinks … (is this in itself possible?). Experimenting with this temporal and plastic elasticity, blowing off the doors locked by our reflexes, our habits, the systems and signs which have conditioned us to be like machines, the flux of constantly accelerating images which get in the way of our feeling of truly being in space and time, which dehumanize us …”
Satori, or illumination, is the consciousness of immediacy, in its purest, most fleeting form …
Detaching oneself, tearing oneself away from the hypnotic, binary and primary rhythm which overpowers us (sounds, images, certain software, the driving pulse found onstage in certain anaesthetized communal events).
Feeling the infinite variety of speeds through our senses, pouring out, accelerating our pulse, our breath, the extreme slowing-down in which one may find the immobile point.
The great Scourge of Time offers us in each variation of its swinging trajectory, an infinite richness of perceptions — if in fact our conscience can free itself of the abundant automatisms shaping our senses, including our hearing, our sight …
Our face-off with the “other” can be approached with a sharpened awareness of the immanent fragility, rarity and delicacy of each moment, a quick weighing of thought, nourishing and allowing for both the future and the duration, while the fusional fermenting of passions overflows, displacing our perception of space-time …
This alternating is vital.
By definition a choreographic piece works conceptually with the language of movement during the space-time of the performance, but this possible abstraction does not in the least exclude meaning and the approach to the sensitive, it’s about taking that leap, as Kafka might say.
Language endangers us, breaking the circuits …
Perhaps we shall use an abstraction of Rimbaud’s great poem, Les Illuminations. Maybe. Maybe not … what matters is each time we do take that leap toward the opening, moving the percepts toward you, toward ourselves.
“I alone have the key to this savage parade,” says Rimbaud at the end of his poem Aube (Dawn). Opening the senses, essences – toward improbable logical connections.
“I have strung ropes from spire to spire, garlands from window to window; gold chains from star to star, and I dance.” With these festive links, like a tightrope walker of language, Rimbaud draws an acoustic movement toward an abstraction of the void. Like a poetic cosmology, this “illuminated” expansion of the verb creates a new gravity of the perceptible. It elucidates no mystery but it re-enchants the world of elementary particles …
When Einstein “discovered” (according to legend ) the theory of relativity while riding inside an elevator – was that an illumination? — perhaps instead of experiencing the sensation, he was inside the moment the pure concept appeared to him. Or on the other hand: the writer and poet Fernando Pessoa wrote in Le Livre de l’intranquillité how he totally panicked on a bus, when he noticed precisely, dizzyingly, the speed at which the bus (and therefore he) was traveling. “Feeling all, in all the ways possible – I am living inside sensation … “
In extreme feeling there is a panic of the senses which augments one’s perception of speed, everything seems to accelerate: and a shock, a scare, a sudden pain can transform our perception of space-time to the point of annihilating it.
In Zen philosophy, it is detachment, an attitude of emptiness (of non intent, non projection) in immobility, which allows the grasping of the instant in its quality of fullness and uniqueness; the satori would then be an ecstatic consciousness in the here and now, of the infinitude of space-time gathered together, collected in a fraction of a second: a stepping away from the self; an immobile journey …
What is it that drives animals to run thousands of miles, until they are completely exhausted, dying or giving birth? Instinct? The bird, the butterfly and the salmon do not plan, do not project – they go beyond their own limits in the pursuit of this vital cycle …
PRODUCTION: Compagnie Catherine Diverrès/ Association d’Octobre
COPRODUCTION: Théâtre Anne de Bretagne – Vannes
Halles de Schaerbeck with Ars Musica – Brussels, Les Quinconces- Le Mans, Le Volcan – Scène nationale – Le Havre, Pôle Sud – Choreographic Development Center – Strasbourg,
Accueil studio – Ballet de l’Opéra national du Rhin – Mulhouse
Fondation Beaumarchais – SACD
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