Boris Charmatz
SOMNOLE
© Marc Domage ©
© Marc Domage ©
© Marc Domage ©
Choreography and performed by, Boris Charmatz
Choreographic assistant, Magali Caillet-Gajan
Lighting, Yves Godin
Costumes collaboration, Marion Regnier
Vocal work, Dalila Khatir
With advices from Bertrand Causse and Médéric Collignon
Musical inspirations J.S. Bach, A. Vivaldi, B. Eilish, La Panthère Rose, J. Kosma, E. Morricone, chants d'oiseaux, G.F. Haendel, Stormy Weather... Liste complète disponible sur borischarmatz.org
Stage manager, Fabrice Le Fur
Lighting management, Germain Fourvel
Executive manager [terrain], Hélène Joly
Production management, Lucas Chardon, Martina Hochmuth
Production staff, Florentine Busson, Briac Geffrault
A coproduction by Festival d’Automne à Paris and MC93 – Maison de la Culture de Seine-Saint-Denis.
Production and distribution by terrain
A coproduction by MC93 – Maison de la Culture de Seine-Saint-Denis sont coproducteurs de ce spectacle.
Production et diffusion, [terrain]
Coproduction Opéra de Lille ; Bonlieu scène nationale Annecy ; Le phénix, scène nationale de Valenciennes – pôle européen de création ; International Arts Festival REGARDING… ; Teatro Municipal do Porto ; Festival de Marseille ; Scène nationale d’Orléans ; MC93 – Maison de la Culture de Seine-Saint-Denis (Bobigny) ; Charleroi Danse – Centre chorégraphique de Wallonie-Bruxelles ; Helsinki Festival ; Pavillon ADC ; Festival d’Automne à Paris
With support from Dance Reflections by Van Cleef & Arpels
With the Jeune Théâtre national
Within the framework of Atelier en résidence / Lafayette Anticipations – Fondation d'entreprise Lafayette
Thanks to Alban Moraud, Mette Ingvartsen Charmatz, Xenia Ingvartsen Charmatz
After a series of group pieces and collective events, Boris Charmatz returns to the minimal form of the solo in a pared-down mental choreography, accompanied only by a faint whistle. A whistled dance which transports familiar melodies and concretions of gestures lying dormant.
In this show, the act of whistling alone, for yourself, “as if it were the outline of a stable centre at the centre of chaos” models movement at the very moment the out-breath escapes from our lips. It allows us to invent a world in expansion – a land of familiar ritornellos from which gestures spring forth. The performer whistles a note, concocts a melody, then another – like an ephemeral cartography of a frame of mind. Here, following on from infini, a piece characterised by its overflowing orality, in which the uttering of figures was transmitted from one body to the next, Boris Charmatz opts for a radical lessening of meaning and physical activity. In SOMNOLE, the exhaled air of whistling joins up with the appearance of a movement, forming a fragile bond of dance and music. As the music builds, with its mixtures and ruptures, different states of liaison develop between whistling and the dynamic of the gesture – whether it be slowed-down, haltering, somnolent or sharp. Like a body in search of respite, Boris Charmatz invents an insomniac form of dance, a refuge of choruses and rhythms on the frontier between daydreams and dark reverie.
In the same place
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Drawing upon Collodi's tale, the Cade-MacAskill duo uses theatre to investigate the little- explored realms of queer love and affection. In doing so, they tell the story of gender transition and its repercussions on the couple. The piece itself, The Making of Pinocchio, becomes a burlesque-inspired manifesto for different forms currently under construction.
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