Creation: 24, 25, 26, 27, 28 March 2009 at Théâtre National, Brussels

Multiform choreographic piece for four assistants, one cameraman and one dancer
Conception, choreography, and interpretation: Michèle Noiret

has been awarded the Theatre-Dance critics prize of the French Community of Belgium for the best dance performance of the 2008/2009 season.

"The desire rises in me to express my malaise mixed with astonishment, caused by the spectacles of our chaotic and violent world. I increasingly ask myself how this world that surrounds me — and that’s often so strange to me — influences my creations, in terms of both style and substance.
Some events, experienced or perceived, hit me with an unsuspected force. It becomes hard to ignore them. For example, on all the continents, the bees are ceasing to fly, exhausted, and die without us understanding the strange communications that link them. They no longer produce honey, no longer fertilise the plants and disappear. This noble insect is found in all our customs and images, our memories and myths. Its disappearance produces within me an emotion that I am not yet able to name.
Is the death of the bees a metaphor for our world and the destiny of our society?"

Michèle Noiret

DEMAIN, multiform choreographic piece for four assistants, one cameraman and a dancer, interpreted by Michèle Noiret, has been created and presented at Théâtre National from 24 to 28 March 2009. Michèle Noiret lets herself be taken over by a character struck by the unacceptable of the world. Her questions, her revolt, her interior life and her hyper-sensuality are at the heart of this choreography, which weaves links between different theatrical writings. Alain Lagarde’s scenography and the lighting by Xavier Lauwers place the spectator in the ambiguity of a laboratory where the experiment is unknown. Images taken on the fly and short films created by the artist Aliocha Van der Avoort plunge the dance stage into a ‘dance-cinema’ that Michèle Noiret explores throughout her creations. A meaning suddenly appears, disappears, returns metamorphosed. The original score developed by composers Todor Todoroff and Stevie Wishart transforms and intertwines the sound textures of the second movement of Beethoven’s 7th Symphony.

The quest of the choreographer, since the very beginning and in all variations and metamorphoses, has never ceased to question the human and, in their multiple dimensions, beings. But what beings? Because if Michèle Noiret’s intention is indubitably anchored in the current reality of which she is both a tender and ironic, sometimes even incisive, observer, she cultivates an intensive art of transmutation, reformulation and interpretation. If she is able to take her inspiration from the spectacle of the world, it is by metamorphosing it in her imagination, transforming it in contact with an interior world that leaves nothing unchanged. What’s left is astonishingly dense.

The beings, in Michèle Noiret’s world, are constantly searching. They seem to be familiar with the labyrinth, as the title of her 2005 creation for the dancers of the Opéra national de Paris announces. And that is just the impression one gets on seeing the set, herself and her dancers: one sees that they are surveying the mazes of invented spaces, not without trouble, strangeness, obscurity or anguish. Because beauty is not only light. It can also adorn itself with dark colours and nocturnal aspects, veil itself in anxiety, express revolt or refusal. For her, beauty takes hold of beings in the grip of their desires and their quests, as it is murmured in the finale of the piece Les Arpenteurs, according to a verse of the poet Joseph Noiret: “Inexorably we march with eyes shut towards the being that we are”.