1 h

29/05 – 23:59
30/05 – 18:00

Boris Charmatz turns the stage into a laboratory for ideas and a playground for the body. As choreographer and director of the transgressive Musée de la danse, he is continually testing the foundations of contemporary dance. Having created vast group choreographies in 2011 and 2012, Charmatz is now adopting a completely different approach to the body. His latest project is a mobile installation that directs our gaze to the inside and explores the everyday action of eating. How do we eat? How do we digest reality? The mouth is a traffic intersection where the inside and outside, the me and the world meet and exchange. Charmatz serves the audience a delicious living sculpture. Fourteen bodies chew, crunch, spit, ingest, regurgitate, eructate, speak, sing and dance in a peristaltic choreography. manger or a devoured reality, a swallowed utopia, a slow digestion of the world. Have a taste!

Boris Charmatz

Performed by
Or Avishay, Matthieu Barbin, Nuno Bizarro, Ashley Chen, Olga Dukhovnaya, Alix Eynaudi, Julien Gallée-Ferré, Peggy Grelat-Dupont, Christophe Ives, Maud Le Pladec, Filipe Lourenço, Mark Lorimer, Mani A. Mungai, Marlène Saldana

Yves Godin

Olivier Renouf

Arrangements & vocal training
Dalila Khatir

Choreographic assistant
Thierry Micouin

General stage manager
Mathieu Morel

Marion Regnier

Sandra Neuveut, Martina Hochmuth, Amélie-Anne Chapelain

Clémence Sormani

Ticket Man, The Kills; Hey Light, Animal Collective; King Kong, Daniel Johnston; Leisure Force, Aesop Rock; Je t’obéis, Sexy Sushi; La Folia, Arcangelo Corelli; Symphony n°7, Ludwig van Beethoven; Qui habitat, Josquin des Prez; Three Voices, Morton Feldman; Lux Alternae, György Ligeti

Le bonhomme de merde in L’Enregistré, Christophe Tarkos, P.OL., 2014


Musée de la danse/Centre chorégraphique national de Rennes et de Bretagne
Direction : Boris Charmatz.
Association subventionnée par le ministère de la Culture et de la Communication (Direction Régionale des Affaires Culturelles / Bretagne), Ville de Rennes, Conseil régional de Bretagne & Conseil général d'Ille-et-Vilaine

Kunstenfestivaldesarts, Ruhrtriennale – International Festival of the Arts, Théâtre National de Bretagne (Rennes), Théâtre de la Ville & Festival d’Automne à Paris, steirischer herbst (Graz), Holland Festival (Amsterdam), Künstlerhaus Mousonturm (Frankfurt am Main)

Performance in Brussels supported by
Institut français

Thanks to
Alexandra Vincens, Imane Alguimaret, Marguerite Chassé, Noé Couderc, Lune Guidoni, Hypolite Tanguy, students from P.A.R.T.S. (Brussels) & Master-Studiengang Performance Studies (Universität Hamburg), Baiba Bartkevica

Created at
Ruhrtriennale — International Festival of the Arts 2014

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About manger

“Dance invented anorexia. Marathon runners eat as they run. Prisoners go on hunger strike. The ritual of meals seems to be disappearing. A child eats while dancing. I dance with my mouth full. You eat lying down. She sleeps standing up. Information is digested. He dances while chewing. He chews while dancing and singing. We attack movement from the mouth. From the lips. From the fingers we suck. From the feet that touch food on the ground. Dance is from the stomach. Dance is from the palate. Dance is from the teeth. Dance is from the tongue. We remove the table and chairs and tablecloth. We devise a sort of meal in motion, we eat everything, we eat a little of everything, all the time. We are an orchestra in motion, self-fed. A speculative ecosystem. The long food chain accelerates, moving from arm to arm, the food finally disappearing into the body. There is always something for leftovers. The set becomes invisible, it has been licked until it is completely different. Choreography of juices. The choreography of people also becomes the choreography of food that goes through the space and the body from the inside. Complete permeability. The body is open to a food and then closed again. The essential is buried in the throat. You don’t want to suffocate. You swallow the message without reading it. You swallow reality. You digest conflicts. They eat in the broad sense. Reality swallowed.

… Eating lying down Sleeping standing up Digesting information Dancing with your mouth full Singing while chewing Chewing while dancing Dancing while thinking while singing while swallowing Attacking the movement from the mouth From the lips From the fingers we suck Feet touching the food on the ground Removing the table The chairs The tablecloth Taking away the ritual of the meal Devising a dinner on the move An infinite meal in motion Eating everything A little of everything All the time Long food chain that is hidden Disappearance of the set Invisibility of the essential buried in the throat Don’t suffocate Hunger strike Body-object-of-strike Swallow the message Ingest reality Digest conflicts by swallowing reality Reality swallowed Child eating dancing Self-fed human orchestra Give a titbit to the other person so that he continues to move Dance of the palate Of the teeth of the tongue and above all endless …

we eat lying down we sleep standing up we digest information we dance with our mouths full we sing while chewing we chew while walking we dance while thinking while singing while swallowing we attack the movement from the mouth from the lips from the fingers we suck from the feet that touch the food on the floor dance is from the palate dance is from the teeth dance is from the tongue we remove table and chairs and tablecloth we take away the right of the meal we devise a sort of moving meal we eat everything we eat a bit of everything all the time long food chain moved from arm to arm the food disappears into the bodies the set becomes invisible the choreography of people also becomes the choreography of food going through the space then the body from the inside the essential is buried in the throat we don’t want to suffocate we go on hunger strike our body becomes an object of striking we swallow the message we swallow reality we digest conflicts a child eats while dancing”

Boris Charmatz

“Boris Charmatz, choreographer and director of the Musée de la danse – a hybrid institution that digests formats and moves the body off-centre – subjects dance to formal constraints that redefine the scope of what it can do. This has been seen in the potentially infinite canon of gestures in Levée des conflits, and the inert bodies of children brought to life by adults in enfant… The stage becomes a test tube into which concepts and organic concentrates are thrown in order to observe the chemical reactions, the intensities and the tensions generated by their coming together. In manger, it’s movement’s centre of gravity that is shifted: how can the body be set in motion not by eyes or limbs, but by the mouth? How can we make this gaping void a perceptive environment in its own right? A crossroads where food, voice, breath, words and saliva mingle, the mouth is a place of circulation where the inside and the outside, the I and the otherness, meet, taste each other, gauge each other, exchange with one another, ingest one another. By using this metaphor as a driving force for the choreography, Boris Charmatz maps out a general area of orality: chewing something into a paste, swallowing it, the physical matter turning into a proliferating mixture. It is wolfed down, it sings, it is tasted, it becomes intermingled, it radiates from mouth to mouth until it invades the entire space. In this continuous movement of ingestion, masticated melodies suddenly appear, tableaux of the flesh, sculptures of the voice, food and skin, sketching out a collective and sensual horizon. On the borderline between a moving installation and an indeterminate sound object, manger is a “swallowed reality”, a devoured utopia, a slow digestion of the world.”

Gilles Amalvi
Extract from the programme of the Festival d’Automne à Paris and the Théâtre de la Ville-Paris

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Dancer and choreographer Boris Charmatz (b. 1973) has created a number of seminal pieces, from Aatt enen tionon in 1996 to manger in 2014, while continuing to perform and improvise, notably with Médéric Collignon, Anne Teresa De Keersmaeker and Tino Sehgal. Director of the Centre chorégraphique national de Rennes et de Bretagne since January 2009, Boris Charmatz proposed transforming it into the Musée de la danse, a dancing museum. This manifesto-driven change has seen the museum host the projects préfiguration , expo zéro , rebutoh , brouillon , Jérôme Bel en 3 sec, 30 sec, 3 min, 30 min, 3 h and Petit Musée de la danse, Fous de danse and head off for Saint Nazaire, Singapore, Utrecht, Avignon, New York, London and Brussels. Associate artist of the 2011 Festival d’Avignon, Boris Charmatz created a piece for 26 children and 9 dancers entitled enfant performed in the Cour d’honneur at the Palais des Papes, and presented Une école d’art , a project by the Musée de la danse and the Festival d’Avignon. Invited to MoMA (New York) in 2013, he presented Musée de la danse: Three Collective Gestures , a three-part project running in the museum’s spaces for three weeks. After first being invited in 2012, Boris Charmatz is now returning to Tate Modern in London this year with the project If Tate Modern was Musée da la danse? with new versions of the choreographic projects À bras-le-corps , Levée des conflits , manger , Roman Photo , expo zéro and 20 Dancers for the 20 th Century . In residence at the Centre National de la Danse (2003-2004), he launched Bocal, a nomadic and ephemeral school for around fifteen students from different backgrounds. A guest professor at the University of the Arts in Berlin, he helped develop a new dance curriculum that was launched in 2007. With Isabelle Launay he co-wrote Entretenir/À propos d’une danse contemporaine (Centre national de la danse/Les presses du réel, 2003), he wrote « Je suis une école » published by Éditions les Prairies Ordinaires and with Jérôme Bel co-wrote Emails 2009-2010 (2013, ed. Les presses du réel in partnership with Musée de la danse).

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