Analogies

Création 2004, Parc de la Villette Paris

english

©photos Quentin Bertoux

Spectacle pour 3 danseurs et 3 acrobates
Distribution :
Chorégraphie :
Kitsou Dubois
Musique : Alain  Bellaïche
Lumière : Patrice Besombes
Scénimage : Eric Duranteau
Scénographie et costumes : Goury
Avec : Chloé Ban , Alain Bellaïche , Manu Debuck , Xavier Kim , Bertrand Lombard, Chloé Moglia , Laura de Nercy

« Six danseurs se côtoient, se frôlent alors que leurs reflets s’impriment dans deux miroirs  » mécaniques  » où leurs images apparaissent sur trois écrans vidéo ou bien au-delà de leurs frontières. […] Entre la surface de l’eau et de l’air, les frontières s’estompent, s’effacent au profit d’une atmosphère et d’un univers onirique passionnant. La mémoire de la matière (eau et air), dans laquelle chacun a expérimenté auparavant les paramètres de la gravité, se joue des circonstances matérielles. […] Quand la danse se dérobe sous nos pieds, la magie opère, radicale, poétique autant que scientifique. »

Analogies évoque un monde sans gravité, un monde qui bascule, où le mouvement se déroule au gré des frôlements, des passages, des contacts entre les corps et les surfaces. Cette pièce chorégraphique est issue du processus de recherche et d’expérimentation développé en micro-gravité et dans l’eau.

Mentions :
Production déléguée Ki Productions
Coproduction Parc de la Villette (Paris), Le Manège de Reims – Scène nationale, Centre des arts du cirque de Basse-Normandie (Cherbourg), Centre dramatique national de Normandie – Comédie de Caen et Ki Productions Avec l’aide du Conseil général de la Seine-Saint-Denis, de l’ADAMI, du Ministère de la Culture et de la Communication-DRAC Ile-de-France (aide à la création chorégraphique) et de l’association Beaumarchais Avec le concours du Centre national d’études spatiales, du Forum culturel du Blanc-Mesnil- Scène conventionnée, de la Ville de Bagnolet et de la Fondation 93.

La fondation BNP Paribas accompagne les projets de Ki Productions.
La compagnie Ki Productions est en résidence au Manège, Scène nationale de Reims.

Le spectacle a été présenté
au Parc de la Villette, au Manège, Scène nationale, au Forum, Scène conventionnée du Blanc-Mesnil, au Théâtre des Cordes, CDN de Normandie, au Vivat, Scène conventionnée d’Armentières en collaboration avec le Prato à Lille.

Revue de Presse

Techniques & architecture, Emilie Martin «  Kitsou Dubois, Trajectoire fluide et Analogies en tournée »  Août-sept. 2006  / Ballet-tanz,  Thomas HahnWo  » forscher schweben  » Février 2006 /  Turbulences vidéo, Geneviève Charras  » Analogies : Danse en flottaison «  Janvier 2005  / Télérama, Rosita Boisseau  » Les lois de l’attraction » Décembre 2004 / Le Monde, Rosita Boisseau  » Kitsou Dubois, chorégraphe de l’apesanteur Septembre 2004

Analogies

Kitsou Dubois / history of an experiment
The choreographer, dancer, and researcher, Kitsou Dubois, has been working for over ten years in the field of spatial research, exploring gestures and the processes of orientation and movement perception in weightlessness.

September 2000, City of Stars in Russia
Kitsou Dubois and her team, Mathurin Bolze, Eric Duranteau, Jörg Müller, and Laura de Nercy put on their flight suits and communicated as best as they could with the crew of an Ilyushin 76 military aircraft.

Soon after take-off, the plane reached an altitude of 8,000 metres (26,200 ft.) before nose-diving into a parabolic arc. At the exact moment when the rate of descent reached the force of gravity, bodies started to swell and movements slowed. This is the only way to achieve weightlessness today, if a trip into orbit is unaffordable. Unfortunately, it only lasts 25 seconds, and the side effects after ten dives are considerable.
Dubois thus achieved her goal of working alongside scientists researching the effects on bodies in space. From NASA to the CNES (Centre National d’Etudes Spatiales), she has tried to understand how weightless bodies establish new bearings centred around themselves, and how their movements are free from outside forces.

Free floating
Back on earth, the dancer worked on drawing out transitions between movements, in order to get away from the sense of rupture or falling. It was a question of striving for the harmony and grace that exists in weightlessness, and of « arresting » a never-ending movement. In flight, perceptions of time and space are completely different. Everything is slowed down. You cannot move around, you rotate around yourself, and you bounce off walls, thrust onto a linear trajectory. You get the feeling of eternity – how do you know where you are, since time is continuous?
Kitsou Dubois has taken 14 parabolic flights just to relive those 25 seconds of weightlessness and grace each time.
Based on this founding experiment, she developed a experimental process of danced movement where gravity is altered: on board parabolic flights, in water, and on the trampoline.
She focussed her research on the area between art and science and found that the confrontation between the fields opened the way to explore man’s relationship with his environment.

Analogies / notes of intent
Dance makes use of circus arts, imagery, music, lighting, and set design to create a multi-disciplinary work within a dynamic of juxtaposition and projection. The creative processes within the different disciplines happen simultaneously and are the result of experiments of perception in weightlessness. Two of the last parabolic flights took place in April 2003, and others are scheduled for the whole team in 2004.
The presentation space is designed like a series of layers, each playing on transparency, opacity or double-imagery, through screens placed at different orientations.

The goal is to shift the spectator’s point of view, by having the environment, objects, and bodies all move through each dimension of the space.
The environment moves, contracts or expands, and sometimes starts to turn, thanks to simultaneous projection of bodies and movement of light.
Imagery is manipulated and developed through projections into space. It is stripped of its status of pure reportage and starts to acquire a theatrical sense. It provides clues as to what is happening above. The digital processing is handled like a substance in order to emphasise the ambiguity of the limits between form and environment, movement and point of view, image space and spectator space, and the real and the imaginary.

Gestural work is anchored around the use of support points, which are explored as much as possible, until they appear invisible. The more the dancer relies on his support, the more his body swells and appears to float. The whole surroundings – floor, chairs, bodies – become flight accessories.
The space surrounding the performer’s body is represented as a survival zone. He is not in a performance, but must find a way to exist within the allotted space. The body’s situation is thus developed in direct association with its environment.
The music follows the same procedure. Based on a recorded structure, the musician accompanies us on stage through improvisation.
The most refined aspect of human sensitivity and thinking is the dynamic process – always changing and adapting – between brain, body, and environment. Scientific progress, especially in cognitive science, has contributed valuable information to the advance of our artistic research.

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