Sait-on jamais ?

De Kriekelaar

9.12.13/05 > 20:00
10.11/05 > 18:00

Then one day a rumour went round that there was a place somewhere where no-one was allowed to go. Do we ever know what kind of wishes can enter people’s heads…

(From Stalker by Andrei Tarkovsky)

There are several ways of combining dance and technology. For several years now, Michèle Noiret has been honing the sensitive area of how they might interact. Technology is not an end in itself but the means – a way to create strange new depths from the spatial confines of the stage and refract secret resonances from the dancers’ bodies. Working very closely with her co-creators on sound and image, she is continuing her fruitful prospecting here with more intimate forms called... Prospectives. This is her third one: Do we ever know?

Choreography:

Michèle Noiret

Created & danced by:

Michèle Noiret & Sarah Piccinelli

Artistic assistant, Images & Video:

Fred Vaillant

Sound, Interactions & Sound direction:

Todor Todoroff

Lighting:

Xavier Lauwers

Set design:

Wim Vermeylen

Costumes:

Azniv Afsar

Technical coordination & lighting:

Philippe Warrand

Photos:

Sergine Laloux, Fred Vaillant

Promotion:

Alexandra de Laminne

Administration:

Cathy Zanté

Production:

Cie Michèle Noiret/Tandem asbl

Coproduction :

Théâtre Les Tanneurs (Bruxelles/Brussel), La Ferme du Buisson - Scène Nationale de Marne-la-Vallée, Théâtre d'Angoulême-Scène Nationale,KunstenFESTIVALdesArts

Supported by:

Ministère de la Communauté française de Belgique Service de la Danse

Michèle Noiret is in residence at the

Théâtre Les Tanneurs

Presentation:

Théâtre Les Tanneurs, De Kriekelaar, KunstenFESTIVALdesArts

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Then one day a rumour went round that there was a place somewhere where no-one was allowed to go. Do we ever know what kind of desires can enter people’s heads?

(From “Stalker” by Andrei Tarkovsky)

There are several ways of combining dance and technology. For several years now, Michèle Noiret has been honing the sensitive area of how they might interact. Technology is not an end in itself but the means – a way of creating strange new depths from the spatial confines of the stage and refracting secret resonances from the dancers’ bodies. Working very closely with her co-creators on sound and image, she is continuing her fruitful prospecting here with more intimate forms called... Prospective(s). This is her third one: Do we ever know?

The inspiration for Sait-on jamais? came from Andrei Tarkovsky’s work. Begun towards the end of 2002, this piece of research comprising two performers has been developed during short residences at La Ferme du Buisson (Marne-la-Vallée) and the Théâtre d'Angoulême. The results of this research, co-produced with the Théâtre Les Tanneurs where the company is in residence, are being presented in Brussels from 9 to 13 May 2003 at the KunstenFESTIVALdesArts.

How could I know or even name what I desire? Or be really certain not to want what I don’t desire? These are elusive things. You only have to give them a name for their meanings to fade, evaporate and disintegrate. Like a medusa in the sun. But what is it that I really want? What do I want?!

(Excerpt from the screenplay to “Stalker” by Andrei Tarkovsky).

According to Andrei Tarkovsky, “the aim of art is to shed light on the meaning of life for you and for others”. This creation therefore is an exploration of life where an attempt is being made to convey its subtle connections and profound phenomena in all their complexity and truth. We seize what emerges from the poetic organisation in our everyday lives to go beyond its linear logic and to stimulate the imagination. The performance becomes a metaphor of the world – trying to awaken surprise, amazement and above all emotion in us. What we see repositions how we see ourselves. But do we recognise ourselves? Why is there this difficulty in saying and understanding things? We live in the fragility of the moment and we ask how and why in an instant we can be so easily shaken from a feeling of intense happiness to an equally strong one of confusion, pain and sadness.

“ Choreographic sequences take place, unfold and diffract behind screens in a very compelling effect of fictionalisation suffused with fantasy. Michèle Noiret’s own dancing and that of Sarah Piccinelli is – essentially – of an insanely elegant maturity smashed down on the bones of narrative suggestion”.

Mouvement.net (interdisciplinary site for living arts), Gérard MAYEN, 7 February 2003

PROSPECTIVE(S) has developed through evolutionary forms, research and experiments that have been welcomed and shown at different venues and by partners in Belgium and abroad during the 2001-2002 and 2002-2003 seasons.

PROSPECTIVE(S) intensifies research into the decomposition of space and the integration of new interactive sound and image technologies which the choreographer began several years ago. Here Michèle Noiret has chosen time as her subject: new technologies induce a more complex relationship with creation, they modify the performer’s role and function and therefore require a specific period of research for the theme of each work. In accordance with the theme of work chosen,

PROSPECTIVE(S) convenes an encounter with new artistic propositions, reinvented according to the venue welcoming them and the fruit of previous research. The research compiled on the interaction between movement and a specific medium (image, sound, text, music, stage design) comes across as many constituent reflective moments from choreographic projects of the present and of the future.

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