Sous les yeux de la jument noctune
(temporary title) Creation 2013
Lately I’ve been playing with a lot of ideas and notions, like composition, figures, rhythm, images, exhibitions, narratives, the minor and the major, the artificial and the natural, truth and lies, dance and choreography. Each piece has been an exploration of different parametres, as in a specific study. But I feel that the studies are finished. I would like to tell, to address, to move, to betray, to use, to build, to play with theatre, to take advantage of the conventional set-up that it offers us in order to construct an epic. I intend to develop a precise vocal practice, to play with sound and space, with costumes. I would like to find a genre for the piece, as in «lyric poetry».
For this new creation which will premier in January 2013 I want to do things differently : to feed, to nourish the work, to do research ahead of time instead of when the dancers are already there. I want to gather material, write, structure the project, think about the scenography, the music, the dramaturgy, things which I usually do quite summarily. I generally throw myself directly into the battle. I don’t want the dancers to have to compose their choreography, I’d like to spend time infinitely going through the same acts and gestures, until they are adopted, absorbed, until their power is liberated, and time swallowed up. For our art is no more than our experience of time and its conversion into images onto which the audience projects its own narrative.
Every time that I begin a new piece, I observe the formal territory that the precedent pieces have traced and the questions that they have raised. Then I look at the space that they do not occupy, and I say to myself, as a gold-hunter, that is where I need to dig.
If I had to isolate one single notion that runs through all of the projects that I have done, I think that what is always at work is the idea of potential. Potential considered as the start, as force. This potential can also be found in the work of the dancer in what is called the pre-gesture, or the point where the gesture is formed, its source, a tangle of memory, sensation, desire, a magma, a not yet organised force. If I associate this with the history of the world, I encounter the founding myths that we have in common, that we share throughout different eras, different places, and which influence our individual or collective representations.
The myth tells a sacred story. The myth is always the beginning of something, how something was produced, how it began to be. The myth only tells us what really happened. It is an eruption of the sacred that truly founds the World and makes it what it is today. Each of us knows this. Personally, it is not because I know that I understand, I only understand what I use. I will use the caracters of myth and make a circle, and we’ll see who dances...
LOÏC TOUZÉ, January 2012
Concept and choreography Loïc Touzé
Performers Bryan Campbell, Ondine Cloez, Madeleine Fournier, Elizabete Francisca, Gianfranco Poddighe, Teresa Silva.
dramaturgy Mathieu Bouvier
scenography Jocelyn Cottencin
Light design Yannick Fouassier
voice Jennifer Bonn Lombard
stage manager Willy Cessa
music Jonathan Seilman
May 14th-24th 2012 : CCN de Caen/Basse Normandie
Public opening on May 24th
September 21st – October 12th 2012 : CNDC/Angers FR
October 29th – November 16th 2012 : CCN de Montpellier-Languedoc Roussillon/Montpellier FR
Public opening on November 15th
December 15th - 21st : CCN de Belfort – Franche Comté/Belfort FR
Public opening on December 21st
January 3rd - 22nd 2013 - Théâtre Universitaire/Nantes FR
Premiere: January 23rd, 24th, 25th 2013, 3 performances
January 31st 2013, 1 performance
Le Grand R Scène Nationale/La Roche sur Yon FR
March 16th 2013, 1 performance
Théâtre municipal de Béthune/Béthune FR
Production ORO-Loïc Touzé
Coproduction TU/Nantes, CNDC Angers, Centre Chorégraphique National Montpellier Languedoc Roussillon, Le Grand R Scène Nationale/La Roche-sur-Yon, CCN de Caen/Basse Normandie, CCNFC Belfort.
Pre-purchase Théâtre municipal de Béthune
crédit photo : Nimbus II 2012
Photo: Cassander Eeftinck Schattenkerk.
Courtesy Berndnaut Smilde