choreography: Boris Charmatz
with: Nuno Bizarro, Boris Charmatz, Julia Cima, Benoît Lachambre, Mathilde Lapostolle, Myriam Lebreton and Philippe Bailleul
lights: Yves Godin
artistic co-ordination: Dimitri Chamblas
editing: César Vayssié
director of photography: Madjid Hakimi
voices training: Dalila Khatir
A choreographic piece in the manner of Russian dolls, héâtre-élévision is a performance reduced to a film, which itself is reduced to a television and shown in an installation. It is a kind of decoction, perhaps a suicide of live performance: what will be left of the smell of the work of the dancers after the anaesthesia of the screen and the pixels?
To compensate for the absence of a live performance, or rather to make this absence crucial, the apparitions of the artists on the screen will take shape inside the head of the spectator, finding there a new projection space which is infinitely more open than it appears. It is perhaps time to be explicitly somewhere other than modernist dance with controlled or grey faces, somewhere other than these faces of ballerinas divided between effort and charm, somewhere other than these dances of parade theatre where the face indicates what should be thought about the rest and gives a predetermined direction to the experience.
We intend to become idle here, sustained only by a dance which does not stop at its incarnation. A dance which does not automatically fill the space but which resonates increasingly clearly with the political, semantic and social spheres, a dance which is well aware that the plans, norms and power relationships are already there, in the body, and that does not think less of it. Finally, it is a dance that is certainly elusive and risks appearing completely alien.
Completely prejudging the result, we may imagine that it will be about theatre and television. Contrary to all expectations, and beyond the apparent joke, these days dance extends its mire that far, without effort, and without losing the soul which it abandoned some time ago in favour of concepts otherwise more generally articulated by language. Here is theatre in a drama of the absent body, which is reanimated by means of pretence. Here is tele-vision, power delegated to the dancers in the distance, whose influence is not direct (with contact drawing the masses to dance) but hypnotic. What masochistic desire attempts to dance in such confined spaces as these?
Sound mix and editing: Olivier Renouf
with musics by Galina Ustvolskaya Composition n°1 (Dona Nobis Pacem, 1970-1971) and Philippe Bailleul
Sound recording: Claire Thiébault
Audiovisual consulting: Isabelle Tat
Photographer: Stéphanie Jayet
Technical management: Jean-Michel Hugo
Stage management: Fred Fournel
Construction: Christian Borger, Christophe Couzon, Christian Giordano, Laurence Rossignol
Trainee: Marie-Lou Burger
Extras: Silvia Allroggen, Clotilde Amprimoz, René Arnold, Jean-Baptiste Audolleut, Elisabeth Bardin, Olivier Benoit, Lise Bilien, Suzanne Bodak, Claire Bottéro, Stéphane Bottéro, Hélène Bouquin, Judith Cahen, Eve Cavaciuti, Sarah Clenet, Anne Collod, Emilie Combet, Sophie Couineau, Agnès Dahan, Lionel Dejean, François-Xavier Delarue, Blandine Delcroix, Eve Delugeau, Cyril Desclés, Makissa Diabate, Henri-Emmanuel Doublier, Damien Dreux, Isabelle Droin, Vincent Druguet, Chloé Dutilh, Anne Duval, Hélène Exbrayat, Cerise Farthouat, Catherine Fontana, Hideaki Fuwa, Mélanie Gambie, Anne Gerschel, Mireille Guimbretière, Florian Goetz, Camilla Gotta, Antoine Grospiron, Célia Houdart, Julie Jameron, Bruno Joliet, William Jouve, Katerina Kanelli, Matthieu Kavyrchine, Dalila Khatir, Nicole Klein, Céline Kraus, Joris Lacoste, Isabelle Launay, Aude Lavigne, Goulnara et Xavier Le Torrivellec, Sophie Lecomte Berrué, Johanna Levy, Marina Ligeron, Axelle Locatelli, Emna M'Rabet, Ange Macias, Laure Massias, Mathilde Mazaud, Patrick Mazeirat, Sabine Mit, Pascale Montenay, Delphine de Noray, Rigize Noui, Lise Paillet, Catherine Pavet, Fanny Pentel, Carole Perdereau, Mickaël Phelippeau, Catherine Plaisance, Emeline Ponchel,