Le dé-FIBRILL-ateur

 

A metaphor for interstitiality, for passage, for transition. What are the factors that form connections? Which elements draw together or separate? What impels into motion that which is inanimate? What is the current that circulates between animality and humanity? I – Our project, occupying a space situated between reality and imagination, uses fabric as a vector for narration and mediation within the dance and as a means of connecting the different phases: There are two distinct phases: - A 15-minute video of a performance by two dancers will be projected at various times throughout the day during the entire Festival (location to be defined). - There will also be a live performance in public during the festival. The dancers will perform in front of the video projection. The performance aims to engender an antagonism. It explores the interval between two impulses: present time and recorded time. The two moments interconnect and resonate with one another via rhythms and forms which are in a perpetual state of metamorphosis

 

Two indiscernible forms covered by a membrane propose the alternatives of presence or absence. The persistent symbol of the bond refers to Freud’s narrative of ‘fort-da’ after observing a child playing the game of throwing a cotton reel and then pulling it back. The child, in his imagination, envisages the absence and the subsequent reappearance of his mother through this repeated movement. Are these human forms, recumbent tomb statues seized by tremors, shrouds, bizarre-looking cocoons or maybe beings in transformation? These forms seem to breath, and the material trembles. Stretched to the limit or curled in on themselves, the forms writhe, come into contact, repel each other, collide, or echo one other. Are they acquainted? Or are they lost? The dance animates bizarre excrescences that are stretched, seek each other out, are mixed up, ensnared, and become entangled. Bundled up and stringy like candyfloss, the two forms encounter a destiny that induces them to metamorphose into a series of vegetal, animal, or human identities. It is for the imagination of the spectator to unravel the mutations of these fibrous beings, to perceive them covered with scales, with feathers, and then with delicate, silk-clad flesh.

 

Elizabeth Damour Is a French performer residing in Paris. She trained at the Graham Dance School in London. In the eighties. She was involved in dance Companies in Europe and later in G. Maretsky, and V. Navarro Cie in Brazil. In 2000, Kim Manri’s work in Osaka, led her to be more involved with butoh performers: Gyohei Zaïtsu, Atsushi Takenouchi, Maki Watanabe and Masato Koseki. She was trained with Adam Benjamin, in Candoco Cie and she developed connections with Tanteatro and the Workcenter. • She takes part in large projects with famous choreographers as Tebby Ramasiké In the European Capital of Culture 2022– Luxemburg & Kaunas in Lithuania. She is the dancer partner in the creation of 90 mn duo ‘The wreckage of my Flesh’. • 5 th Festival Sufi Culture in Fes -Morocco – October 22 - Solo ‘Presence’ based on the poetry of the Egyptian philosopher and artist Sami-Ali. • International Festivals during the past 15 years - Tokyo, Amsterdam, São Paulo, Warsaw, Paris- are opportunities to develop new creations. Her inspiration comes from myths and narratives about humanity issues. The solo Closer to my Undisclosed desire from S. Beckett’s Lost ones. The 40mn solo ‘Medea Fiam’ presented in October 2022 in Paris. • The skin of the world Through her Collective B.I.G, she initiates regular gatherings with artists from multidisciplinary backgrounds to perform in Museums and Art Galleries. • Regular Residencies – The body: this almost human Since 2008 in Atelier Incurve in Osaka and Osaka Design University. Residencies in Arnheim, in Paris, in Strate Design School. She has developed partnerships with performing online platforms Becoming Tree, Global Water Dance Laban Center in New-York and collaborate with music composers such as David Block, R. Huysmans in Amsterdam, J. Elkin in New-York and P. Boeswillwald. ‘In Butoh, each movement is a kind of never- completed movement, offering freedom and disharmony. This is what she is seeking when performing ‘a little dance’ outdoor or by the seaside at 3 300 meters, on the top of the glacier of Plaine Morte in Switzerland. She is a Certified dance and Art-Therapist of the BAAT in London. https://dialogue-with-imaginary.hubside.fr

 

Carol·lyn :  Language, linguistics, and expression in all its forms have always been among her principal centres of interest, and Carol·lyn regards the language of dance and movement as a logical extension of the verbal language with which she engages through writing and translation. She has studied Butoh with Juju Alishina, in regular classes or intensive workshops, or in spectacles such as Fracas en forêt (2015). Carol·lyn has worked with various other choreographers, for example Marlene Jöbstl or Sylwia Hanff. During a workshop with Stephan Cheynis, she met with Elizabeth. After that she joined the BIG collective, with whom she participated in the video performances Global Water (2021) and La Terre a tremblé, as well as in the outdoor performance Fureurs oubliées (2022). As a member of the collective she created a solo in situ for the Biennale de Gentilly art festival

 

With thanks to David Block for the music and video composition.