One developmet, three developments
Dance places a body and this body while dancing speaks of itself strongly showing a said that never said.
A monologue affects the air, it’s not important if the monologue is right or wrong, it cuts the air establishing itself in the silence with a force that happens to be much lower than the energy created by a moving body. It doesn’t deal only with silence.
That body is not saying, so the amount of things that it puts into play are a lot more than just a monologue, everything is inside.
The dance of Laurent Chétouane creates this unsaid through a movement that is itself dance, a movement that doesn’t require tinsels.
Fleshed and reduced to metal the movement is dance, it has a simplicity that activates a sublimation process that doesn’t proceed from the simple movement to what we call dance but from dance to movement.
The freedom of the movement in this work takes on a major challenge.
In this performance the movement talks about an evolution theory where there is not change but differents uninterrupted gaits.
If a monologue meets another monologue things start to be complicated, therefore according to what was said before, if a dance meets another dance the complications increases.
The unsaid meets other unsaids. How does this node develop? How does the movement develop into a situation like this? And especially how does it develop into a scene (theater scene)?
From the beginning of the performance the bodies glide on the scene. The contact doesn’t take off anything. It’s like the primordial monologue at the moment of the encounter with other movements didn’t lose force, the whole thing doesn’t become a dialogue, but a group of monologues.
The contact of the bodies is as simple as their movements and their trajectories and this involves them in a mutual respect. It seems that in the game there is the hedeggerian duel between Dasein and Mitsein and it seems that this game has been won by the Levinas’s alterity concept.
There isn’t a real resolution of the duel, the resolution is the non-resolution of it.
The spontaneity with which the bodies approach solves monologues, or rather, the monologues solve the approaching. There isn’t a duel, there is a staying.. Both sides are fortified.
Doesn’t theater always look for this? Making sure that everything in it takes place being maximally itself
Jean-Luc Nancy’s words: „The body is what comes, approaches the scene and the theater is what gives rise to the approaching of a body.“
Maybe the keyword of this performance is precisely the “approach”, the body is thrown and it throws itself on the scene, approaches the scene, but at the same time approaches to other bodies.
In this performance, that springs from a four-weeks recidency, the trajectory of the body is plumbed by its movement, there are no steps, but developments, everything is as rigorous as it’s more natural.
All images © Benoîte Fanton
An idea by Laurent Chétouane
Laurent Chétouane , Ioannis Mandafounis , Mikael Marklund , Roberta Mosca
Soli GbR, production management: Christine Kammer, Hendrik Unger.
deSingel , Tanzquartier Wien , Hebbel am Ufer (Berlijn) , Kampnagel Internationale Kulturfabrik (Hamburg) , Théâtre de la Bastille , tanzhaus nrw Düsseldorf.
3/4 December 2015, tanzhaus nrw / Düsseldorf
8/9 April at HAU, Hebbel am Ufer / Berlin
14/16 April, Kampnagel / Hamburg