Du Vivant Sous Les Plis
Confier
World premiere January 24, 2019
at MuMa, Pharenheit Festival Le Phare/ CCN du Havre Normandie
Conception – choreography: Margot Dorléans
Dancers: Manon Parent & Margot Dorléans
Outside eye: Maxime Guillon-Roi-Sans-Sac
Text: Guillevic avec la voix de Camille Kerdellant
Acoustic design: Laurent Durupt
Lighting design: Grégoire Desforges
Costume design: Salina Dumay
Running time: 60 min
Production : Du Vivant sous les Plis
Coproduction : Le Phare, Centre chorégraphique national du Havre Normandie, direction Emmanuelle Vo-Dinh
Residencies: Les Brigittines, Bruxelles ;
La Bazooka au Wine and Beer, Le Havre
Co-execution: Le Colombier/Bagnolet
The company Du Vivant Sous Les Plis received support from the Département de Seine-Maritime for the creation Confier and from ODIA Normandie/ Touring and Artistic Information Office of Normandy.
This work is automatically eligible for the inter-regional structure Avis de tournée for the 2020- 2021 & 2021- 2022 seasons.
Confier (Confiding) is an intimate duo in which confidence, taking care of someone and trust are all laid out in an unflinching body-to-body contact, in the form of an embrace of the two bodies in a small space. The duo vibrates in the space via a system of sensors which pick up the sounds of the dancers’ heartbeats, their breathing, their changing, supportive handholds, all harmonized and blended in real time.
An immersive, subtle journey into the essence of the relationship between two bodies in movement.
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Creator’s note
In Confier, the central idea is about confiding in someone, giving a part of the self into the care of another person you trust. It is also about building trust in terms of the other person. The bodies seem to be turning backward, resisting the passage of time; one dancer cannot move without the other, and certainly without the risk of falling. In spite of these tensions and the constant seeking of balance, this space-time is a space for healing, well-being and sweetness where physicality reveals the humanity of this relationship.
It is also about building trust in terms of the other person
The starting point is that of a physical embrace. The body as source material means going beyond this image so that the duet can evolve further. With a heightened awareness of their own heartbeats, the sound of their blood circulating, the dancers create a spiral looping movement phrase (the symbol for infinity) inside their own chests. And this movement sends them into a rotating traveling spiral around themselves, all of this taking place in a reduced space of 2 square meters, slightly elevated, where the interaction of the bodies continues to change.
Each dancer approaches the body of the other like a geographical field, where the different parts of her body slide, press, find points of support to communicate with the other infra-bodily. Initially the tempo is slow, powerful; then something happens and the bodies begin supporting each other, palpating each other from within. Their movements are echoed in the space by a system of sensors which connects them acoustically and amplifies the strength of their relationship.
The acoustic set-up is a system of sensors (a stethoscope, sensors measuring the breath and pressure), in an unstable balance with the venue sound system; its principal source is the heartbeat of the choreographer and the sounds of the breathing of her partner. The role of the composer is to harmonize the acoustic blending of the different sources, accenting the various tempi of the choreography.
Echoing the rotating movement of the two dancers, the lighting will also be connected to the sound; the acoustic sources will affect the lighting so that it becomes like satellites, luminous bodies in orbit somewhere above the dancers. All the elements of the piece (choreographic, acoustic, lighting) are therefore interdependent, creating a specific system whose goal is to render poetic the relationship and the space; a gradual immersion into the relationship of the two women.
The structure of the work as an immersive experience means we prefer performing the work with a quadri-frontality and quadriphonic sound in and around the venue audience. It can be performed in situ in more open settings (museums, galleries, gardens, parks) with autonomous sound- lighting- setups not requiring complicated technical equipment.
