Creation the 6, 7, 8 december 2007 at 20h30 at L’autre Canal and the 13, 14, 15, 16 december 2007 at Manège.mons.
Michèle Noiret / CCN Ballet de Lorraine
"The inner backgrounds" referred to by the Belgian poet Henri Michaux reveal unsuspected depths. With De deux points de vue, Michèle Noiret forges on with her investigation of these inner universes. This involves a duo where a man and a woman are caught up in a strange way in a relationship beyond words. The cinematic dance she succeeds in creating enables her to dive beneath the surface to reach deep down, to drill into the inner being, into the experience of the body, under the skin.
For this project Michèle Noiret is reunited with Fred Vaillant and Todor Todoroff (Mes Jours et mes nuits, Sait-on Jamais ?, Territoires intimes, Les familiers du labyrinthe), who have developed a technologically intricate universe that is able to expand upon the body's acoustic and visual rumours. The two main technological components of this universe form a complementary relationship: the cordless sensors worn by the dancers and the cameras scanning the dramatic spaces. Picking up on even the tiniest variation in a gesture, these systems are acutely sensitive, such that the scenographic presentation shows an immediate reaction to the dancers' patterns of behaviour via the acoustic or visual transformations.
Todor Todoroff's musical language is focused on creating relationships that bring together the movements captured and the parameters governing the synthesis, the transformation and the spatialization of the sound. These real-time sections, where the dancers are also called upon to interpret the music, are a response to the electroacoustic compositions recorded in the studio, creating an interface between the near and the far away, the clear and the indefinable, the real and the imaginary.
These images are incorporated into Philippe Hekkers's stage design to help invest De deux points de vue with a "cinematic dance" dimension. The time-honoured silver screens have disappeared and the projections are dissolved into matter so the setting can offer acontinually changing experience. All the images that are projected are taken by live cameras dotted about the stage where they accomplish various tasks, such as seeking out a detail so it can be amplified or expressing a subjective vision. A video can be used in real time by a computer and react to the sensor data, while creating an abstract visual display to invest the performance with an array of lighting effects. Fred Vaillant's delicate and precise video expertise is skilfully deployed to interact with the movements of the dancers. The performers in turn react to the projected images, while playing with these new "realities".
This spectrum of technical resources is never allowed to usurp the role of the human being, who is always of central importance in any choreographic work by Michèle Noiret. She is more concerned with helping the individual to become aware of other dimensions of being, thoughts that lie more below the surface and attitudes that are less conscious. These new technologies also help to widen the scope of the choreographic narrative and the strange relationship uniting the dancer Florence Viennot and her partner Christophe Béranger, both members of the Ballet de Nancy. It is as if the performers have "melted" into a universe whose boundaries are being constantly stretched. The images become the dream-like extension of the choreographic characters, while their movements activate and manipulate the projections and the sounds, which are deformed and suspended so that time is altered and the realities become blurred. The two points of view are transformed into multiple perceptions and desires.
The music of "De deux points de vue" has obtained a mention at the Concours International de Musique Electroacoustique de Bourges, in the category "works fo danse or theater" in June 2009.
Photo Jean-Luc Tanghe