Explanatory note
Ten years after he conceived the choreography herses (une lente introduction), Boris Charmatz comes back to this major creation through a silent film. Une lente introduction proposes to search the dance and the flesh of choreography, two elements often evacuated from the discourse surrounding the presentation of that work. The images were shot at the Centre Chorégraphique National du Havre, in high res format, in 2005, shortly before the last public performance by the team that had interpreted the play during seven years: Vincent Dupont, Myriam Lebreton, Sylvain Prunenec, Julia Cima and Boris Charmatz. Since then, a revival of herses has been performed in Oslo, Berlin, Vienne and Paris.
herses (une lente introduction) would be, first of all, a play of getting in touch; in fact, the direct, ironic or reactive confrontation with a few utopias:

1
the natural utopia, that of the body liberated and let free in green territory, snatched by the forces one says are essential, trees and flowers
then
the utopia of the couple, the builing of one by the other (and the perenniality of desire), irritating and archetypical choreographic figure
finally
the communitarian utopia, the body shared or combined, the impossible or unavowable contacts.
Those three “utopias of union”, and some of their consequences (the vanishing of the individual for the benefit of nature, union, or the communitarian ideal; the dream of an absolute and blinding encounter, the spirit of team, escapade, merging!) could give birth to a play for two couples of dancers. It would imply contrasted reactions, from sarcasm to fascination, and would come as close as possible to dangerous reefs: the reef of parody, the one of writing per se, the one of pornography.

Magma is an extract from Une lente introduction presented as an installation. Showed on a loop, it is relieved from the dramturgical construction of Une lente introduction and lets appear its acme: a roll of entangled bodies.