révoltes

french

Monitors

creation at the centre chorégraphique national de montpellier

december 2000

conception
anne lopez
françois lopez
céline mélissent

interpretation
ghyslaine gau
samuel letellier
anne lopez
karine trélon
til mahou

stage designer
françois lopez
céline mélissent

costumes
stéphanie boué

music
françois lopez

lighting
alain paradis

stage manager
franck bataillé

time
60 minutes

coproduction
CCN Montpellier L-R
Théatre Saragosse, Pau

  Révoltes opens up a potentially radical field of play that is conducive to multiple subjective experiences. It is a working, living laboratory that takes into account the microcommunity that will receive it. It is peculiar in the sense that it is incomplete without an audience.The accepted “rule” originates in the malfunctions of the system itself. Révoltes reduces the misconception that dance can only be perceived as a spectacle.It reintroduces the ambiguity of dance and its love of a present that is both legible and obscure. Revolt is a necessary condition for a culture that is not intent only on producing grand commercial forms of entertainment, for subjects that are not programmed by social order only. The strategies of resistance in this piece of work stem from a critical need and from the desire to bring back life forces to counteract the nihilism abroad today. Such a temporary construction provides a setting for disconcerting situations, for outbursts with no apparent reason which reflect an offensive that is free of any exterior motive.
The audience is placed in the uncomfortable position of being observed and of belonging to an arbitrary gathering of people. Choosing to expose what is behind the scenes of the system, to involve the live audience and to mimic the global economy by the repetition of gestures, is concomitant with the will to rekindle the imagination and bring it right back into reality. Each elements is vital for the breakdown in the system of communication and contributes to the sudden disclosure of our conditioning in order to renew function, reestablish a new base and broaden our visual and metal horizons. Risk-taking means testing what is real. Physical experience, experience of the world, a dim brightness, rather than nothing, rather than jaded submission, passionate protest rather that alienated devotion to the system. Alternative energy goes beyond rationality, follows no linear story-line, has no structure based on formalism and complacency. It shakes up old habits and points both to the unease that is entails and to the fragile certainty we have of our freedom. Suspended between reality and fiction, dance here is gauged by the engagements it is able to make.

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