une étendue
- Premiered on 17 February 2011 at Le Phénix – Scène Nationale de Valenciennes
- Concept & Choreography Rémy Héritier
Performance (for the premiere) Loup Abramovici, Audrey Gaisan Doncel, Rémy Héritier, Eric Yvelin
Music Éric Yvelin
Costumes Audrey Gaisan Doncel
Light Rémy Héritier and Eric Yvelin
Production GBOD !
Residency Atelier REAL – Lisbon, within the framework of the cycle Leftovers, Tracks and Traces: documentation practices in contemporary creation
With support of Ménagerie de Verre (Studiolabs)
and Vivat d’Armentières, scène conventionnée danse et théâtre
Residency support by Le Phénix – Scène Nationale de Valenciennes - GBOD! / Rémy Héritier is supported by DRAC Nord Pas-de-Calais au titre de l’aide au projet and by Conseil Régional Nord Pas-de-Calais au titre de l’aide à la création.
Une étendue (A breadth) is both a choreographic piece and a site that allows two autonomous representation levels to intertwine. One witnesses the other; the first documents the second, and vice-versa. Two choreographic registers are thus at work in this piece:
One follows the construction of a “negotiating space”, where the dancers prepare themselves while inventing out loud different sites, way beyond the tangible one (the theatre space) where the performance will unfold.
The other borrows to visual art performances all they settled in terms of radicalism and determination. This is a concrete poetics.
Une étendue thus unfolds through heterogeneous sites (mainly off-stage and outside the theater) and develops processes to become part of them, to constitute them. To constitute sites: the project is a site, the piece is a site, sequences are sites, dance and music are sites too. Tangible or poetic sites where we can stroll, stop, and even take position. The choreographic issue lays clearly into the friction between those two choreographic levels. On the one hand, it means to create a piece visible in its “own volume”, that is, through the connection it ties with the art works, thoughts, perceptions or people who have enabled its emergence. And, on the another hand, it means to show the actual present of the society where the piece will be performed: a society that tends to distrust art works to favor cultural products.
What kind of a future is this friction able to create? What new kind of autonomy could it convey to an audience?
One follows the construction of a “negotiating space”, where the dancers prepare themselves while inventing out loud different sites, way beyond the tangible one (the theatre space) where the performance will unfold.
The other borrows to visual art performances all they settled in terms of radicalism and determination. This is a concrete poetics.
Une étendue thus unfolds through heterogeneous sites (mainly off-stage and outside the theater) and develops processes to become part of them, to constitute them. To constitute sites: the project is a site, the piece is a site, sequences are sites, dance and music are sites too. Tangible or poetic sites where we can stroll, stop, and even take position. The choreographic issue lays clearly into the friction between those two choreographic levels. On the one hand, it means to create a piece visible in its “own volume”, that is, through the connection it ties with the art works, thoughts, perceptions or people who have enabled its emergence. And, on the another hand, it means to show the actual present of the society where the piece will be performed: a society that tends to distrust art works to favor cultural products.
What kind of a future is this friction able to create? What new kind of autonomy could it convey to an audience?
