Emmanuelle Huynh
Múa
© © Jean-Baptiste Huynh ©
Concept, Emmanuelle Huynh
Immobility shape, Emmanuelle Huynh
Darkness, Yves Godin
Silence, Kasper T. Toeplitz
Transparency, Christian Rizzo
Cello, Fabrice Bihan
This show is presented in association with CND Centre national de la danse and Festival d’Automne à Paris.
A Compagnie Múa production
A coproduction by Théâtre contemporain de la danse (Paris)
In association with CND Centre national de la danse (Pantin) ; and Festival d’Automne à Paris
For this project, Emmanuelle Huynh benefited from a Villa Médicis hors les murs scholarship in Vietnam.
With support from Dance Reflections by Van Cleef & Arpels
In 1995, Emmanuelle Huynh gave the first performance of her solo Múa, or 'dance' in Vietnamese. The piece is an interior journey on the frontiers of darkness, revealing a body which gradually makes itself visible, torn between dark and light, interiority and the outside, Vietnam and France.
« Immobility: Emmanuelle Huynh; silence: Kasper T. Toeplitz; darkness: Yves Godin; transparency: Christian Rizzo ». From the onset, Múa, the first piece by the choreographer Emmanuelle Huynh, devised during a residency in Vietnam, affirms its intention to question, in a radical way, the precepts of dance – by reducing the field of vision at the benefit the other senses. In this immersive work, each element of the staging takes on a revelatory function, unveiling the shedding of a body in order to reveal the appearance of its inner self. By undoing the duality in existence between movement and immobility, the visible and the invisible, Múa models perception, exposing the interior journey of the different sensations at the heart of an organism which is in search of a form or shape. Contoured by the use of shadow, and brought into being or assembled by the onstage sound medium, Emmanuelle Huynh's imperceptible silhouette acts upon the very fringes of consciousness, embodying the zones of uncertainty of an identity as it reinvents itself through movement. Leading spectators on a sensory and perceptive experience pushed to the very limits, in which each gesture redefines the outer limits of discernment, Emmanuelle Huynh provides us with a phenomenology of appearance.
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