inside #####

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From singular to common, from collective to intimate...

A microcosm suggesting an architectural presence and a performative act.
A spatial restraint as a generator of relations, a space of communal confrontations. 

Five dancers carry the challenge of fabricating collective tension.

Two assembled communities, the public and us. But also three situations, three forms of existence, resistance, where the group defines itself in relation to its spatial borders, to the other, to time.

We question the intimate through cohabitation, between what remains of oneself and what is abandoned by the acceptance of the other. What we see, what we suggest, what we hear, what extends beyond, what pierces... Sensitive materials allowing collective strategies to vibrate, to be transformed.

The eye of the spectator as a witness, a filter, revealing meaning.
The closeness of a glance to penetrate and question a space that is suggestive of relational, poetic acts.

Organic and social bodies get involved in a passage in filigrees of identical signs.
"How to be together" becomes a plural-formal material.

"We offer ourselves in a concise space, where we look, by the closeness of our acts, for a reinvention of gesture and signs in a mutating journey through utilitarian, symbolic territories…

…We are a group, a small group, one among other groups. We have rules of games, rules of life, networks, languages, circuits, codes, we thus become functional, expressive, primary, heroic, carnal, dancing…"

 

Inside ##### is a modular piece, in - situ.

It is suggested in multiple spaces, on stage or elsewhere, with variable durations of 20, 40 or 60 minutes.
The spatial configuration is a mobile cube of 2m x 2m.
The object is covered by several surfaces, which define the visibility of the action.
These different surfaces imply different perceptions from transparency to opaqueness and fragmentation.   

Three “modules” of about 20 minutes can be presented:

GAME

The action in this module results from a physical and relational occupation relative to the specificity of the space.
The group organizes and sculptures a sort of common housing environment. Virtual interior, body-object, intimate, collective space.
Are there rules of a game, a possible codification?
Organised confusion.

SIGH 

Five figures tempt a physical unification, in contrast with their own voice.
The duality between the mass of bodies and the vocal elements create a temporal suspension.
The act of resistance oscillates between both materials.
The body is present by its sensitive strata (skins, fibres, muscles, organs), as well as the voice (articulated, musical, expressive, emotional).
The space in between in vibration, in friction.

CORE  

Here the same space functions as a cellular container, suppressed with energies, with pulsations.
The group, becoming identified with a cardiac matrix, as if connected by sorts of blood networks, coexists by provoking intermittent eruptions.
The environment tightens, thickens, the dilation of bodies, the tension of acts take volume.
The identities collide, the physical limits echo…
Rupture becomes a necessity.
Expansion...

 

It is up to the spectator to create his own vision of the event; to assist it one-sidedly or to modify his angles of sight, to have a direct projection of it or then to accept the human filters as a disruptive element.
The proximity of the audience stimulates the variety of perception, as much for the one who looks as for those who from the inside observe while being observed.
The space of action and its environment become dependent of one another.
Through this work we wish to experiment elements that gather us and allow us to question and to share the same space of reflection.