Yasmine Hugonnet
Seven Winters
Théâtre de Vidy, Lausanne, 2020 © Anne-Laure Lechat ©
Théâtre de Vidy, Lausanne, 2020 © Anne-Laure Lechat ©
Théâtre de Vidy, Lausanne, 2020 © Anne-Laure Lechat ©
Concept and choreography by Yasmine Hugonnet
With Matthieu Barbin, Stéphanie Bayle, Marta Bellu, Ruth Childs, Maïté Jeannolin, Ilaria Quaglia, and Sabine Rivière
Artistic collaboration, Michael Nick
Stage design, Nadia Lauro
Lighting, Dominique Dardant
Sound creation, Frédéric Morier
Musiques, Franz Schubert, Winterreise 24. Der Leiremann ; Antonio Vivaldi, Le quattro stagioni Inverno, I. Allegro non molto
Version 1, Sigiswald Kuijken La Petite Band (ACCENT)
Version 2, Gidon Kremer London Symphony Orchestra Claudio Abbado (Deutsche Grammophon)
Costumes, Yasmine Hugonnet, Nadia Lauro, Michael Nick
Technical director, Jérôme Vernez
Production assistant, Isabelle vesseron
Administration, Violaine DuPasquier
Distribution and production, Jérôme Pique
Produced by Arts Mouvementés
Coproduced by Théâtre Vidy-Lausanne ; Atelier de Paris / CDCN ; Les 2 Scènes, Scène nationale de Besançon ; ICI – CCN Montpellier – Occitanie / Pyrénées Méditerranée ; La Place de la Danse - CDCN Toulouse / Occitanie ; Tanzhaus Zurich ; Dampfzentrale (Berne)
In association with Atelier de Paris / CDCN ; Centre culturel suisse.Paris ; and Festival d’Automne à Paris
With support from Canton de Vaud, de la Ville de Lausanne, de la Loterie romande, de Pro Helvetia, de Ernst Göhner Stiftung, du SSA Fonds culturel, de Corodis, de la SIS Fondation suisse des interprètes. La compagnie Arts Mouvementés bénéficie d’un conventionnement conjoint avec le Canton de Vaud et la Ville de Lausanne.
Seven Winter received support from the LaB E23 Interreg France-Suisse 2014- 2020 programme and from FEDER.
The seasonal cycle invites us to measure the evolution of all things. Setting up an encounter between the similar and the different, Seven Winters looks into the issues of change and relation. Yasmine Hugonnet brings together seven performers in order to dance, through time, space and gesture, the mutations of an illusory immobility.
What is reciprocity? As choreographic practice, what is induced by it? Within this delicate balancing act, the giver receives an impulsion, a flow or weight of some kind. This phenomenon creates the impression of bodies splitting in two and makes their reflection, negative or reverse appear. The intricate interweaving in time and space then brings into existence yet more bodies. Through movement, visible or not, these bodies indirectly reveal the “skin of emptiness” whose texture touches us. It is all a matter of charge and exchange, responsibility and confidence, support and transfer. A matter of the way in which a gesture fills in the gaps in the imaginary world specific to the person who executes or observes it. The practice of reciprocity strips expressivity to its bare essentials and unfastens the fabric of affects. Yasmine Hugonnet, a dancer and choreographer of hybrid research forms, simultaneously deploys the centring to the inside or outside of physical bodies, removes the hierarchy of postures, and experiments with the anatomy of the gesture beneath the layers of form and image. The postures of the performers, the latter being odd in number, creating an unstable community, give us an insight into what arises in what is no longer there… in transformation itself: the permanent state which links all living beings together.