Noé Soulier
Mouvement sur mouvement
© Mouvement sur mouvement, Noé Soulier © Noé Soulier ©
© Mouvement sur mouvement, Noé Soulier © Noé Soulier ©
© Mouvement sur mouvement, Noé Soulier © Noé Soulier ©
Designed and interpreted by Noé Soulier
Produced by Cndc–Angers
Co-produced by Kaaitheater (Brussels) ; Concertgebouw Bruges; Ménagerie de verre (Paris) ; Festival d’Automne à Paris
With support from CND Centre national de la danse (Pantin)
With special thanks to the Forsythe Company
With support from Dance Reflections by Van Cleef & Arpels
France Culture is a partner of 6 x Noé Soulier
Using William Forsythe’s Improvisation Technologies, Noé Soulier formulates an exercise in the interpretation of gestures via the medium of other gestures. The movement of language and the word of the body interact and mutually transform themselves in a conference which dances and thinks in equal measure.
William Forsythe’s Improvisation Technologies is a choreographic object that defies all classification. Consisting of a series of pedagogical demonstrations in which Forsythe makes shapes with the different parts of his body, it gives rise to lines, circles and points. In Mouvement sur Mouvement (2013), Noé Soulier uses this video as the basis for his research, and then steers it away from its demonstrative vocation by applying different filters to it. Can movements describe other movements? By choosing to perform these images as if they were a score, Noé Soulier seeks to analyze the relationship between the physicality of language and the discourse of the body, whilst paying close attention to the precarious nature of the signs themselves at the same time.
In the same place
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Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.
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Rabih Mroué's objective with his “non-academic conferences” is to subvert, via the perspective of performance, the principle of the conference. He does so by imitating the mechanisms at work within the conference format. He does not set out to make fun of the principle of the conference itself, but rather to exploit the power of the exercise as a form of public address. This is achieved by operating a shift of a voluntarily ambiguous nature, passing from presentation to representation and from reality to the imagination. The illusion it sets up is a disturbing one: the tone is neutral, the expertise seems well proven, and the documents supporting the speech suggest authenticity. This, of course, is precisely the aim of the whole mischievous, moving and intellectually stimulating operation.