L’invité (The guest) goes on with the notion of encounter.

As matter of fact, the end of the century has seen the growing influence of the image and everything that it induces into people’s lives. The guest comes disturbing the habits of the community. He also is the symbolical medium between stage and audience. At times the guest will appear in the shape of a person, a character or an image.

Bodies, thus, convey movements that are related to the world’s principle of evanescence, moving from simple spasms of life to dialogues, from easy identifications to unleashed interpretations. The dance tends towards a quality of relations. This motive induces proximity as well as specific kinds of relations, which necessarily supposes a part of improvisation and lightness.

When images ineluctably raise the question of truth and falsity, it is in the act, eventually, that one can reach beyond the issue and indulge in unexpected riches.



« (...) Bodies literally re-compose themselves, seeking new functions, inventing odd and irregular curves, losing themselves in fortuitous equilibriums. Movements and evolutions draw spontaneous tracings. The metamorphosis shows itself through a mechanics of which codes have been upset, where violence, wariness, recognition and taming stand for the differents stages of an unrestrained game.
This piece offers us an unexpected dance, physical in the extreme, both sensitive and rough, impulsive and erudite (...) «
Delphine Huetz, Libération, 5 may 99