banniere

“I have always explored the body in my work, firstly through sculpture then through dance and video.
Using dance movements and a sculptural approach, the idea is to reveal and show the inner workings of the body. How can we create from the solid mass of the dancer’s body a movement that is the manifestation of an inner impulse, an inner instinct? The initial choreographic material is often minimal, in order to dig deep into the rawest of emotions. By emotion, I mean a specific bodily state. For this exploration of the outward expression of an inner essence, breathing is our main tool. Working on different types of breathing, together with the regular practice of different techniques, makes it possible to bring out what is most essential and raw in the movement. Breathing puts us in touch with the performer’s inner state, conveys what exists within and reveals it, naturally and plainly.

To achieve perfection in movement, the movement must be repeated, modelled, tweaked and refined until the material and the performer can give no more. Through repetition, a serial and modular system emerges characteristic of the choreographic language that I wish to employ. A form is repeated and develops constantly but is never exactly the same.
This process gradually pushes the performer towards instinctive movements, movements of his own, a reinterpretation of the initial score.

These dance pieces lie in this space between a choreographic score and the performer’s personal contribution. The choreography is supported by a specific stage design and video. This medium serves as an extension of the dancer’s body, and also acts as a counterpoint. It is not designed as a prop or foil but as an entity in its own right which, through its specific characteristics, adds a complementary dimension to the dance piece. The stage design is always minimalist and sober. Like the dance movements themselves, it is stripped down and bare.”

Françoise Tartinville