BIEN SUR LES CHOSES TOURNENT MAL
>>> L'article d'Agnes Izrine, dansercanalhistorique
>>> L'article de Nathalie Yokel, journal La Terrasse
>>> L'article de Marianne Fougère, Toute la culture
>>> L'article de Nicolas Villodre, Mouvement
>>> L'article de Jean-Marie Gourreau, Critiphotodanse
Choreographer: Frank Micheletti
Dancers: Gabriela Cecena, Idio Chichava, Esse Vanderbruggen, Sara Tan
Music composed mixed en live by Sheik Anorak, Benoît Bottex and Jean Loup Faurat, Frank Micheletti
Light creation: Ivan Mathis
Sound control: Laurent Saussol
BIEN SUR, LES CHOSES TOURNENT MAL is the first part of a dyptic which looks at the various transformations that act upon our present time. The second part will be entitled SOMETHING IS WRONG and gives its name to the ensemble.
«I hope I'm wrong, but science is proving me right. I think we've had it. » Stephen Emmott, Dix milliards (Ten billion)
«Direct writing at last to empty forms, disencumber images whose public-cerebral place is today particularly encumbered.» Henri Michaux, Mouvements (Movements)
Groups, institutions, artefacts, interactions, habits, rules, trends, structures, systems, etc. are all borne away in the processes of transformations which are sometimes debatable. Should one be wary of these or do these open up other possible forms or horizons? Is tomorrow already here somewhere? If so, where is it? Where are we? Where are we with all this? What fictions are we living with? Tomorrow is already today and as it is we are not sure of our present. So in what terms are we going to speak of the future that awaits us? Perhaps in assembling a few things: stories, sensitive ideas, new ways of organising materials, new images, joy, anger, memory, displacements-moving that provoke a collective game yet one which does not require rules to be respected.
What relation(s) exist between a prospective testing that predicts for 2090 the collapse of western civilization and the world as we know it today?
Nothing. If it were not just to have fun in being open to surprises, allowing oneself to be affected by the dense overlapping of the multiple worlds and different temporalities which surround us. Allowing oneself to plunge into the different materialities of time, their uniting, disrupting the linear temporality, disturbing the flow of time.
This work will reflect upon the meaning that may exist between human figures, things, machines and the networks of relation. It will repopulate our imaginations with new configurations, building new relationships. The human aspect is not only responsible for that which it animates. This work will re-appropriate the culture of relationships which can enhance or reduce the “value of reality” and favour a new relationship to the environment and the context by literally displacing the sense of gravity of what one can see, by defying all categorisation and classification.
The exploration will be careful to disrupt the predominance of normalized language which acts as a barrier before accesses to other realities. The project has been created as an “earthing” that captures all the different magnetic waves that surround us. Sounds, images, flux... We produce displacements-moving, upheavals and re-routings along these vectors.
There is no language as such but interferences, arrangements that displace-move frontiers that we suppose to be clearly defined into limiting zones or transitions where realities that move more are reinvented.
BIEN SUR, LES CHOSES TOURNENT MAL looks at the excessive place capitalism has come to occupy in our lives. In this world where everything that generates profit must have a place. An easily understandable rule. Against this capitalist form which contaminates our subjectivity and imposes rules, categorizations, classifications and programmes on us. Against this systematic mapping and against that powers that be and their miniaturization. Our research will propose not a territory to be explored but a disruption to be enacted. Chaos acts an a cut, a crack which ruins our orderly constructions.
International organizations are alarmed by climatic disruptions, a theme that borders the show which through a transversal team, coming from Mexico, Mozambique, Singapore and Europe creates one non-idealogical body to study a poetic, transformational language that has never been released before. Between a commitment and disengagement, between material and spirit, between fiction and documented evidence, igniting a sensitive and transformational poetry which shatters our protective shells.
A dispersion that retains the communal attention and looks at the weakening of worlds. This creation follows the transformed landscapes of our lives and our towns, the words as they come and those laid down in books, plans, graphs, computerized memories, and the neuro-economic subject, dreams, the significations of the world here and elsewhere, and the meaning of our desires.
BIEN SUR, LES CHOSES TOURNENT MAL listens to the echoes and messages that the rough edges of the world create between our bodies.
Some elements that the stage will work with.
It will be possible to pay attention to the world present all around this point of attachment that the body is. Another arrangement to connect our gestures to the contemporary aspects of our lives and to plunge into the considered interpretation of our aesthetic experiences. This short list evokes a non-ideological collective body, paths of materiality, shadows, forces and inclinations, a variety of materials which turn their backs on and undo the implicit presuppositions of knowledge that trouble our horizons.
1. The stage sets an unprecedented relationship
2. We have no obligations to fulfil
3. Empty and refill all the containers
4. How to un-exist, how to de-possess us of our identities
5. Trace other assemblies, materials of expression, passing components
6. Map the paths along which the bodies work, the subterranean metabolisms, perception of the world, addresses of inter-subjectivation and a premonition of the future
7. Write with perceptive, somatic, emotional, imaginary modes that move our consciences
8. What is to have? What is not to have?
8. The spectre of impulsion is infinite
9. Behind an apparent unity, a real multiplicity
10. Not to desire a feeling that fills, blocks, refills the cracks.
11. How we place ourselves outside of ourselves
12. On the edge of a world aware of its own evaporation
13. Raise the tone, increase the volume
14. All the dancers are musicians
15. Follow the different materials of time
16. Occupy that which occupies us
17. The visibility of the gesture haunts it with a certain opacity
18. The nuance is always situated in that which escapes us
Frank Micheletti -23 December 2014
Résidence au CCN de Tours
Kubilai Khan investigations
Théâtre des Salins, scène nationale de Martigues
CDC Atelier de Paris-Carolyn Carlson
Centre chorégraphique national de Tours / direction Thomas Lebrun (dans le cadre de l’accueil studio) Le Pôle arts de la scène - Friche belle de Mai
Théâtre Liberté de Toulon
POLE-SUD, Centre de Développement Chorégraphique, Strasbourg
Conservatoire de danse et de musique de Martigues
Centre chorégraphique national de Tours
CDC Atelier de Paris-Carolyn Carlson